So much! Added in syllabus elements from spreadsheet. Wrote templates: class template, exercise template, exercise-group template, presentation template, workshop template In computer science, the concept of hypertext designates a way of making
direct connections among various pieces of information, textual or nontex-
tual, that may or may not be located in the same file (or on the same “page”
by means of embedded links. Using an interface based primarily on visual
and intuitive elements such as color and icons, hypertext users can identify
the places in a document where additional information is attached and ac-
cess them directly with a mouse click. Selection, association, and contiguity. In addition to the above-men-
tioned modes of navigation, the blocks of information are here ac-
cessible sequentially, like the pages of a book. This model is suitable
for an essay or a scientific article and would be used, for example, for
adaptations of printed books. It corresponds to a simple transposi-
tion of codex format to electronic format. For example, in a hyper-
text adaptation of an essay such as Marvin Minsky’s Society of Mind,
readers can choose to select a title in the table of contents, search
for a word in the index, or move from section to section by scroll-
ing. The contiguity mode is useful only if a document is divided into
pages and sections that are supposed to be read in a specific order—
as is usually the case with a book. Selection, association, contiguity, and stratification. In addition to being
accessible by the above-mentioned modes, the elements of informa-
tion can be distributed in two or three hierarchical levels accord-
ing to their degree of complexity. This makes it possible to meet the
needs of various categories of readers or to satisfy different informa-
tion needs for a single reader. This hypertext model best combines
the advantages of the codex with the possibilities opened up by the
computer by taking into account a new dimension of the text, that of
depth. By superimposing different layers of text on a single subject,
or to use another metaphor, by encircling a central nucleus with vari-
ous supplementary documents, the uses of which are well defined, a
stratified hypertext provides several books in one. Users of such a hypertext could scroll through pages in a main
window, while at the same time being able to open one or more
secondary windows, providing more theoretical or more popular-
ized discourse. There are many fields in which this type of structure
with two or three layers, offering a basic discourse and additional
windows accessible on demand, is desirable. This is the case for self—
teaching textbooks and learning situations, for example, in which the
learner is confronted with a mass of interrelated concepts that may
not all be familiar. It is also the case for technical manuals in which
the user may at any time want to consult supplementary information
on a specific element. These four modes of navigation may also be combined in the electronic edi-
tion of a work, opening up new perspectives for critical editions of works on
pap er. The main thread of reading would thus be the final version of the text,
dominating the layers of the previous versions, which the reader could also
choose to display in parallel windows. The different pages of the text would
be accessed by contiguity or by selection in a table of contents. Finally, com-
ments, notes, and illustrations would be accessible through connections or
associative links. Because of the richness and diversity of the links provided,
I will call this ideal type of hypertext a “stratified” or “tabular” hypertext. The success of a tool of this kind obviously depends on the consistency
and interest of the base layer. While this is relatively easy to determine in
the case of a critical edition, the same is not true for other documents. In a
textbook aimed at a diverse readership, the various strata of information it
should contain would have to be established. The base layer would contain
the main thread of the text, consisting of the minimum information at a
medium level of difficulty. On every page where needed, hyperlinks would
open one or two supplementary windows, such as a “novice” window for
users whose knowledge is insufficient for them to grasp the main ideas and
an “expert” window for those who already possess the basic knowledge and
want to know more. In creating an arrangement capable of working in depth and not only on
the surface of the thread of discourse, the author of a tabular hypertext must
take the utmost care in establishing the different layers and distributing the
information between the base level and the other layers. These choices will
vary with the type of text and target audience. The levels of information may
be distributed on the axis of concrete/ abstract or divided between narrative
and documents or between scholarly text, experimental data, and reference
works, or between didactic text, examples, and exercises, and so on. Generally speaking, it does not seem desirable to create more than two
layers in addition to the base level. Increasing the number of layers will result
in a proliferation of cross—references, and reading would quickly become dif-
ficult. It is important to remember that in a reader-based textual economy,
reference markers should be provided that allow readers to predict the re—
sults of their actions when moving the mouse pointer over the surface of the
screen. The presence of a “novice” or an “expert” layer linked to a particular
word or page should thus always be indicated in the same way, by an icon
or the use of a color. Novice readers who click on an icon hoping to find an
explanation at their level would quickly become discouraged if, instead of
getting what they wanted, they encountered material intended for experts.
To be effective, reading must be based on stable conventions that enable
maximum concentration on the content. Stratified hypertext will undoubtedly develop its own conventions just as
the print media did, and these will become part of readers’ culture. In spite
of the problems, this is where the most promising future for hypertext lies
if it is to move beyond the stage of utopian dreams of liberation to become
a productive working tool. However, these modes of organization of hyper—
text may lead to methods of navigation that are very different depending on
the degree of opacity or tabularity of the presentation of data. A literary or
game hypertext may opt for greater opacity in navigation and allow users to
produce events on the screen without knowing where they are or where they
are going. In this case, there are no obvious “movements,” since everything
occurs within the same visual framework. This form of opaque hypertext
may be suited to an experimental narrative such as Stuart Moulthrop’s He-
girascope3 or to an adventure game such as Myst, in which the players have
no idea of their position in relation to the puzzles to be solved. For an infor-
mational document, however, the most satisfying option for readers is one
that gives them a clear view of the distribution of information and enables
them to directly access all the blocks, with full control of their movement.
In this regard, it is significant that some games allow players to choose the
episode they want and allow them to display the percentage of the episode
completed at any time. One area where the user’s route cannot be left to chance is learning. In-
structional programs and textbooks are based precisely on the principle that
the acquisition of knowledge cannot take place in random order guided only
by the learner’s associations. The first computer-assisted learning (CAL) pro-
grams took this principle of the sequential path to the limit, locking students
into programmed paths in which access to each exercise was conditional on
success in the previous one. Students were expected to move forward blindly,
without knowing how many steps they would have to go through or even,
sometimes, what they would actually learn from the program. Hypertext,
too, can be used in an opaque manner, to totally control users’ progress,
allowing them to follow only branchings accepted by the logic of the pro-
gram, thus reinforcing traditional practices of computer- assisted learning. I
believe, however, that hypertext should adopt some of the characteristics of
the age—old technology of the book to create a new product that will satisfy
the needs of demanding readers who use it as a tool for informational or
educational purposes. As we can see, the production of a hypertext requires constant strategic
choices by the author. The distribution of elements of information also poses
the problem of identifying every primary textual unit with a title. If these
titles are meaningful to the users, it will be easier for them not only to find
the information they want, but also to keep track of which pages they have
read when they exit from the hypertext. In this way, readers will be able to
have real control over the text instead of being controlled by it or groping
their way through it. Literary theory also uses the term hypertext, but in a very different sense.
For Gérard Genette, for example, hypertext is “any text derived from a previ—
ous text either through simple transformation . . . or through indirect trans-
formation.”1 In this sense, James Joyce’s Ulysses is a hypertext of Homer’s
Odyssey. The current concept of hypertext, as it comes to us from computer
science and the Web, is closer to that of intertext as first proposed by Julia
Kristeva and redefined by Michael Riffaterre: “the perception, by the reader,
of a relationship between a work and others that have either preceded or fol-
lowed it.” But the two concepts do not coincide completely, since the intertext,
in this meaning, results from the act of reading, while the hypertext we are
talking about is a computer construct of links and data corresponding to files
or parts of files that can be displayed in windows of various dimensions. There are many hypertext software programs. Among the pioneers are
Hypercard, Hyperties, KMS, Intermedia, and Notecards. Since the advent
of the Web, hypertext has been based mainly on HTML (HyperText Markup
Language), XML (Extensible Markup Language), and XHTML. Historically, the term hypertext was created in 1965 by Ted Nelson, who
used it to designate a new way of writing on the computer, in which the
units of text could be accessed nonsequentially. The text thus created would
reproduce the nonlinear structure of ideas as opposed to the “linear” format
of books, films, or speech. Nelson himself was indebted to a Visionary article
by Vannevar Bush, who in 1945 already envisaged a huge storage system for
human knowledge that anyone would be able to connect to and that would
allow them to annotate documents of interest. Even before the introduction
of the personal computer, Nelson had attempted to realize Bush’s dream us-
ing a computer system called Xanadu—the name of Mongol emperor Kublai
Khan’s palace, immortalized in a poem by Coleridge as a symbol of memory
and its accumulated treasures. Nelson’s Xanadu was supposed to lead to a
huge universal library system (docuverse), which could be consulted on
workstations by making “micropayments” for each information node ac-
cessed. Despite its commercial implications, Nelson’s model had a profound
influence on the evolution of hypertext, and the World Wide Web may be
seen as its culmination in an unrestricted form. Hypertext can be used to manipulate data of all kinds, not only linguistic
data but also images, sound, video, and animation. It makes it possible to
regulate a reader’s interaction with a document by programming various
behavior into objects on the screen in relation to the reader’s movements
of the mouse: the author of a computer program can stipulate, for example,
that touching a certain word with the mouse pointer will change its form
or color or trigger a process that will lead to a new text. Through these fea-
tures, hypertext creates a radically new form of electronic dialogue in written
language. Even more numerous than the many forms of books, hypertext
products vary substantially in appearance and internal organization. Indeed,
computer technology can give digitized text any form imaginable. In a text on paper, the paragraphs or blocks of information are arranged
in sequence, and the reader can access them essentially through contiguity,
relying on a number of tabular elements. In a hypertext, the various blocks
of information may be distinct and autonomous and may be located on a
single “page” or on separate “pages.” In accordance with the nature of the
document and the target readers, the author of a hypertext can provide ac—
cess by means of selection, association, contiguity, or stratification, and these
modes can exist alone or in different combinations. Selection. In the simplest case, selection, readers select the block of
information they want to read from a list or enter a letter on the
keyboard. The various blocks of information are distinct units with
no essential links among them. Readers are guided by a specific need
for information, which exists only until it is satisfied. This model is
typical of the catalogue, the entire organization of which is based on
the principle of expansion, with each word of the index leading to
a detailed description. Dictionaries also work on this principle, but
each of their entries can also contain references to other entries such
as synonyms, antonyms, and so on. The user may also select from the
list of pages already consulted in the document during the work ses-
sion or may choose from a table of contents or from a tree diagram
in which the various branchings are accessible at different hierarchi-
cal levels. Finally, the most frequent mode of selection is by means of
hyperlinks indicated by a particular color, on which the user clicks in
order to explore the content behind them. Applied to a text of a certain scope, the principle of selection is
also characteristic of hypertext fiction in which each screen page
includes several links to other pages, making Jorge Luis Borges’s
ideal of forking paths a reality. Similarly, in the case of a philosophi-
cal essay, every block of text could be followed by a number of icons,
each one corresponding to a possible continuation of the text accor—
ding to the anticipated reactions of the reader insofar as the author
could predict them. After reading a segment of text, the reader could
select the most relevant continuation. In so doing, he or she would
become actively involved in reading, making choices, and expressing
opinions at every step through each section read. But the number
of combinations can easily skyrocket. If a block of text gives rise to
three choices, and each of these gives rise to another three, there
would be nine possible continuations of the initial text at the third
level, twenty—seven at the fourth level, and eighty—one at the fifth. As
a result, 121 texts would have to be written for a sequence of five pa—
ragraphs to be accessible in perfectly “free” hypertext mode. Thus the
idea of providing choices at every level has to be abandoned, or their
proliferation would lead the reader into endless movement and force
the author to rigorously explore every logical alternative at each
point in the argument. Moreover, the freedom given the reader is pu-
rely artificial; it only reinforces the dominant position of the author,
who is the master of all possible outcomes. Selection and association. In this mode, readers choose the element they
wish to consult but can also navigate among the blocks of informa-
tion, letting themselves be guided by the associations of ideas that
arise as they navigate and by the links offered them. This model is
typical of encyclopedias. Unlike hieroglyphic writing, whose pictographic component gives it a visual,
spectacular aspect, alphabetic writing was conceived as a transcription of
speech and was from its inception associated with the linearity of orality. This
linearity is aptly symbolized in the arrangement used in early Greek writing, in
which the characters in the first line were aligned from left to right, and those
in the next line, from right to left, with the characters sometimes inverted,
imitating the path of a plow working a field, a metaphor that gave this type of
writing its name: houstrophedon.1 Readers were supposed to follow with their
eyes the uninterrupted movement the hand of the scribe had traced. This incunabulum from Thomas Aquinas’s Summa Theologica, printed in 1477 in Venice,
follows the manuscript tradition. The decorated initials and paragraph marks are hand—
drawn. The first lines are in larger letters. There is no pagination. The layout of the text in
two columns and its organization in the form of questions and answers, however, make
it very readable. The illuminations are intensely symbolic. The first page (bottom left) is
illustrated with an image that depicts the teaching of Thomas Aquinas. At the base of the
column, an image depicts the reception of the work by angels (bottom right). In the fifteenth century, the printing revolution was another time of in-
tense reflection on the organization of the book. Febvre and Martin8 note
that the title page made its appearance—finally!——around 1480. After the
infancy of the modern book, the period of incunahula—books that imitated
manuscripts as faithfully as possible—printers quickly saw the full potential
of the page as a discrete semiotic space. Page numbering, which became common in the mid-sixteenth century,
enabled readers to better control the duration and pace of their reading and
facilitated the discussion of texts by making it possible for readers of the same
edition to refer to the same passage. Once this step was taken, the move-
ment toward tabularization intensified, and sophisticated techniques allowing
multiple points of entry into the text became widely used, such as paragraph
summaries in the margin and the running head. It was now possible for
readers to precisely locate the point they had reached in their reading and to
compare the relative size of different sections—in short, to control their read-
ing progress. They could also forget the details of what they had read earlier,
since they could quickly find them again by referring to a table of contents
or index. They could read only the parts of a book that interested them.
Especially if a book is long, readers often construct the meaning on the
basis of clues of various types. Typographical markers such as bold, capitals,
italics, or color allow them to quickly classify the elements they read and to
avoid ambiguity; for example, the italicization of foreign words prevents con-
fusion with homonyms. When justified by the material, an index of proper
names, a detailed index, or a bibliography permits readers to choose the way
of accessing the text that best suits their information needs of the moment.
These reading aids did not come into use all at once but were slowly refined,
in a process that culminated in the golden age of print in the nineteenth cen-
tury, when the progress of mechanization heralded the triumph of the printed
page. The table of contents, for example, appeared in the twelfth century. The
paragraph break, the concept of which had been expressed through the use
of the pilcrow in manuscripts of the eleventh century, was finally indicated
by a line break, as seen in an edition of Gargantua printed in Lyon in 1537.
Thus shaped by the ergonomics of the codex, the text was no longer a linear
thread that was unreeled, but a surface whose content could be perceived from
various perspectives. These reading aids, which allow readers to consider the
text the same way they look at a painting or tableau, are here called tabular. With the introduction of printing, the art of publishing fluctuated between
the temptations of textual continuity and those of pictorial page layout. On
the one hand, an austere layout in which the text was rigidly aligned within
the frame of the page was best for emphasizing the mechanical perfection of
printing and the linear aspect of language and reading; on the other hand,
publishers could also be tempted by a complex layout in which the text was
presented in different visual blocks among which readers could pick and
choose as they wished, exploring their relationships in nonsequential order.
These fluctuations in the ideal of the book can be observed across different
periods. In this regard, it is informative to compare some of the printing
manuals studied by the typography expert Fernand Baudin. A manual pub-
lished by the printer Fertel in 1723, entitled La science pratique de l’imprimerie,
is a model of complex layout in which marginal glosses sometimes spill over
into the space of the main text. In contrast, a manual published forty years
later, written by Fournier, presents the text in a single, rather narrow column
and seems to have gone back to the linear order. As for the book by Baudin,
who was himself a typ ographer and wished to give an account of an art that
was the passion of his life, it is in large format, with a column of glosses and
cross-references systematically running down one side of the main column
and sometimes even framing it, as Fertel’s glosses do. The challenge of printed text, in short, is to strike a balance between se-
mantic and visual demands, the ideal obviously being a combination of these
two modes of access to the text around a coherent focus. We can still ob—
serve the naive triumph of the visual over the semantic in even the titles of
sixteenth-century books, in which printers did not hesitate to cut out words
in order to create a symmetrical effect. For Walter Ong, this segmentation shows that reading did not focus on
the visual aspect of the words grasped globally, but was still based on oral
practices; the presentation of the text was independent of its semantic aspect.
It is also likely that such practices involved a kind of playful allusion to a way
of reading that was already seen as outmoded. Today, publishers make such effort to enable the reader to perceive com~
plete words that they sometimes hesitate to break a word at the end of a line,
and thus to use justified text, although that was the typographical ideal for
centuries, beginning in the time of the volumen. This concern with match
ing the semantic unit with the unit of visual perception is also evident in
magazines, which tend increasingly to make the text of articles fit into the
space of the page or double page. It is now commonly acknowledged that the revolution of the codex was
not limited to ergonomics, but that it also had an impact on the nature of
content and the evolution of mentalities in general. Indeed, once a text is
perceived as a visual entity, and no longer as primarily oral, it lends itself
much more readily to criticism. The eye, given the richness of optic nerve
endings in the cortex, can mobilize the analytical faculties more easily and
more precisely than the ear. As historian Henri-Jean Martin notes on the
revolution of printing in the sixteenth century: “By the same token, any
reasoned argument was as if detached from the realms of God and men and
took on an objective existence. The written text became amoral because it
detached from the writing process and no longer demanded that the reader
take on responsibility for it by reading it aloud. This may have facilitated
heretical propositions.” The process by which the text became an autonomous object crossed a new
threshold during the Enlightenment, when the last barriers to its generali-
zed objectification collapsed. That era coincided precisely with spectacular
growth in reading in Europe. We will come back to this question. With the advent of newspapers and the mass-circulation press, which
underwent rapid expansion in the nineteenth century, the formatting of
text became even more tabular. In a radical departure from the original
linearity of speech, text was now presented in the form of visual blocks that
complemented and responded to each other on the eye-catching surface of
the page. McLuhan gave a name to the metaphor implicit in this arrange—
ment: the “mosaic” text. Indeed, newspapers provide a textual mosaic, in
which the reading of various types of information is subtly influenced by the
surrounding news, as has been pointed out by analysts of newspaper layout:
“For about a century, newspapers have been laid out in such a way that each
item of information, though flat on the page, stands out by virtue of the mere
fact of its coexistence with other items of information on the page, which
in turn acquire their value from this competition? ’1” The same authors note
that until the end of the nineteenth century, newspapers consisted simply
of vertically aligned columns, each of which theoretically constituted a page
that went on without interruption. “This type of layout naturally favored a
temporal sequence of discourse: there were no interruptions for turning
pages, no illustrations to create a break or suspension of reading, and no
lead or subheading introducing secondary material. This form corresponds
exactly to the temporal logic of discourse: It is the presentation of logos in
movement, and not the staging of an event.”11 Orality thus extended its influence over the medium of text. The scribe
lined up columns of text on sheets of papyrus—which had been in use since
3000 BCE—until he came to the end of the scroll. Despite the characteristics
that made the papyrus scroll the quintessential book for three millennia, the
fact that it was rolled up into a volumen placed serious limitations on the
expansion of writing and helped maintain the book’s dependence on oral
language. It was taken for granted that readers would read from the first line
to the last and that they had no choice but to immerse themselves in the text,
unrolling the volumen as a storyteller recounts a story in a strictly linear con—
tinuous order. In addition, readers needed both hands to unroll the papyrus,
which made it impossible to take notes or annotate the text. Worse still, as
Martial observed, readers would often have to use their chin when rerolling
the volumen, leaving marks on the edge that were rather off-putting to other
library users (“Sic noua nec mento sordida charta iuuat” [“How pleasant is
a new exemplar unsoiled by chins”] .2 The sudden appearance of banner headlines was the beginning of a new
kind of layout, one'no longer guided by the logic of discourse, but by a spa-
tial logic. “The number of columns, the use of rules, the weight of the type,
the font, the position of illustrations, and the use of color make it possible
to bring together or move apart, to select, and to separate the units that, in
the newspaper, are units of information. Layout then emerges as a rheto-
ric of space that destructures the order of discourse (its temporal logic) to
reconstitute an original discourse, which is precisely the discourse of the
newspaper.”12 Today, there is no doubt that tabularity meets the formatting requirements
of information texts in that it allows the reader to apprehend them most
effectively. This is especially apparent in magazines, where the dominant
model involves framing textual material by means of a hierarchy of titles:
section heading, main heading and subheadings. A more substantial article
will often be presented in the form of a feature story that, in addition to the
main text, includes one or more sidebars elaborating on points raised in the
main text. Such fragmented layouts are sometimes criticized. Their primary
function is clearly to hold on to readers whose attention span is unsteady or
short, unlike a linear format, which is intended for the “serious reader.” This
way of breaking up text into different elements is also very well suited for
communicating a variety of information that readers can select according
to their interests. On the other hand, popular magazines may diverge a bit
from this ideal and give predominance to glossy ads and photographs in or—
der to entice the reader to leaf through their pages and absorb the discourse
of advertising. When tabularity is taken into account, then, printed text is not exclusively
linear and tends to incorporate characteristics of the visual realm. Readers
are thus able to free themselves from the thread of the text and go directly
to relevant elements. A book may thus be said to be tabular when it involves
the simultaneous spatial presentation and highlighting of various elements
that may help readers identify the connections and find information that
interests them as quickly as possible. The concept of tabularity thus covers at least two distinct phenomena—4n
addition to designating an internal arrangement of data. On the one hand,
it refers to the various organizational means that facilitate access to the con—
tent of the text: This is functional tabularity, as shown in tables of contents,
indexes, and division into chapters and paragraphs. On the other hand,
tabularity also suggests that the page may be viewed in the same way as a
painting and may include data from various hierarchical levels: This is visual
tabularity, which enables readers to switch from reading the main text to
reading notes, glosses, figures, or illustrations, all of which are present within
the space of the double page. This visual tabularity, which is seen primarily
in newspapers and magazines, is also found in varying degrees in scholarly
books, which may present various types of text juxtaposed on a single page.
It is obviously highly developed in electronic publishing, as seen on the
Web pages of major newspapers, magazines, and encyclopedias. In addi-
tion, through a hybridization of publishing techniques, the layout of books
or magazines increasingly borrows from the methods of electronic publish—
ing, such as the use of color, underlining, and marking of text elements, with
cross-references to thumbnails or sidebars. In this type of tabularity, the text
is shaped like visual material, with blocks referring to each other on the page
surface and sometimes incorporating illustrations. The spatial projection of the thread of the text obviously depends on the
format of the book. The smaller the book, the less manipulation of the visual
blocks is possible; readers are confined to a continuous movement through a
single column of text with no interruption. This format, which was adopted,
for example, by the famous French collection Bibliotheque de la Pléiade, tends
to reinforce the ideal of a linear typography with nothing to break its regular-
ity. It is especially well suited to novels, which are read for content. National
traditions prevent French publishers from placing the table of contents at
the front of the book as it is in the English-speaking world, a position better
suited to the tabular ideal and to readers’ needs. It should be added, however, that the degree of tabularity of a book will
also depend on its content and intended use. Thus, children’s books often do
not have page numbers: young readers have no need for them, since these
books are designed to be read or looked at from cover to cover and there is
no expectation of a reflective reading with note taking or references. Schol-
arly books, which are intended for readers for whom time is valuable, have
many tabular guideposts: volumes, chapters, sections, paragraphs, headers,
notes, introductory summaries, detailed index, index of proper names, and
bibliography. But the linear thread may still be a justifiable choice for devel-
oping an argument, insofar as the author wishes to ensure that the reader
follows the entire proof. On the other hand, the novel, which is derived from
the ancient art of the storyteller, generally demands sustained reading and
does not require elaborate tabular clues. The large number of chapters and
the hierarchy of sections in Victor Hugo’s novels, which often have a very
linear narrative thread, may be explained by the fact that these novels were
initially published in serial form in newspapers. Today, some writers, anxious
to make their readers read continuously and to have their work seen as high
literature, as different as possible from the tabular format of the magazine,
dispense altogether with chapters, and even paragraphs and punctuation. The advent of the codex was a radical break with this old order, and it
brought about a revolution in the reader’s relationship to the text. A codex
consists of pages folded and bound to form what we today call a book. These
pages were made of papyrus or parchmentmpaper having appeared in Eu-
rope only in the 11005. The codex emerged in classical Rome, several decades
before the Common Era, at the time of Horace, who used one himself as a
notebook. Smaller and easier to handle than a scroll, the codex was also more
economical, because it allowed scribes to write on both sides and even to
scrape off the surface and write on it again. But because of its antiquity, the
scroll was still considered to have greater dignity and was preferred by the
cultured elite, a status the codex did not acquire for several centuries. The
transition really took place only in the fourth century in the Roman Empire.
And it took even longer for the new medium to free itself from the model of
the volumenfljust as it took the automobile several decades to completely
rid itself of the model of the horse-drawn carriage. Such is the inertia of
dominant cultural representations. Christians were the first to adopt the codex, which they used to spread the
Gospels. The new format, which was smaller, more compact, and easier to
hide and to handle than the scroll, also had the advantage of representing a
sharp break with the tradition of the Jewish Bible. Historians find more and
more evidence that the latter reason was in part responsible for the choice
of the codex format by the Christians, but the wide adoption of the codex
over the following centuries was essentially due to “the twin advantages of
comprehensiveness and convenience.” The new element the codex introduced into the economy of the book was
the page. I will look at the problem of the integration of this important in-
novation into the digital order in the section “The End of the Page? [chapter
34]” It was the page that made it possible for text to break away from the
continuity and linearity of the scroll and allowed it to be much more easily
manipulated. Over the course of a slow but irreversible evolution, the page
made text part of the tabular order. The codex is the quintessential book, without which the pursuit and dis-
semination of knowledge in our civilization could not have developed as fully
as they have. The codex gave rise to a new relationship between reader and
text. As one historian of the book writes, “This was a crucial development
in the history of the book, perhaps even more important than that brought
about by Gutenberg, because it modified the form of the book and required '
readers to completely change their physical position.”4 The codex left one
of the reader’s hands free, allowing him or her to take part in the cycle of
writing by making annotations, thus becoming more than a mere recipient
of the text. Readers could also now access the text directly at any point. A
bookmark let them take up reading where they left off, further altering their
relationship to the text. As another historian notes, it took “twenty centuries
for us to realize that the fundamental importance of the codex for our civili-
zation was to enable selective, noncontinuous reading, thus contributing to
the development of mental structures in which the text is dissociated from
speech and its rhythms.”5 When the potential of this union of form and content in the page became
apparent, various types of visual markers were gradually added to the organi-
zation of the book to help readers find their bearings more easily in the mass
of text and make reading easier and more efficient. Since the page constitutes
a visual unit of information related to the preceding and the following pages,
allowing it to be numbered and given a header, it has an autonomy that the
column of text in the volumen did not. Thanks to the page, it is possible to leaf
through a book and quickly know its contents, or at least the essentials. The page can be displayed for all to see, inviting monks in scriptoria to
combine text and images. While the papyrus was rolled up again after read-
ing, the codex can remain open to a double page, as demonstrated by the big
psalters of the Middle Ages that were displayed on their lecterns in churches.
The page was thus the place where the text, which was previously seen as a
mere transcription of the voice, entered the visual order. From then on, it
would increasingly be handled like a painting and enriched with illumina-
tions, something that was profoundly foreign to the papyrus scroll. One can-
not see these illuminated manuscripts without being struck by their fusion of
letter and image. Reading becomes a polysemiotic experience in which the
perception of the image, which is far from a mere illustration, enables readers
to recreate in their own mental space the tensions and emotions experienced
by the artist. The readable gradually moves into the realm of the visible.6 The sight of the codex open on its lectern is emblematic of a religion whose
ideal was that all people should be able to read the sacred texts and share the
Revelation. Various other innovations gave rise to a change in the reader’s
relationship to the text and to reading. They include the insertion of spaces
between the words in Latin texts, which began about 700 CE in Irish scripto-
ria (Book of Kells) and led to decisive changes in the formatting of text.7 The
period from the eleventh to the thirteenth century saw the consolidation of
many features that allowed readers to escape the original linearity of speech,
such as the table of contents, the index, and the header. Paragraph breaks
indicated in the text by a pilcrow (9) made it easier for readers to deal with
units of meaning and helped them to follow the main divisions in the text. The DesignWriteStudio is, first and foremost, a learning community, by which is meant a group of people (participants) sharing an interest in learning from and with each other. More formally:
The Designing and Writing Interactive Texts course explores hypertext theory and applies hypertextual techniques using TiddlyWiki as the primary teaching and learning platform. The course is offered at both the graduate and undergraduate level. Degree-seeking students in the course are mostly matriculated in the graduate Information Design & Technology or undergraduate Interactive Media & Game Design or Communication & Inforamtion Design programs. In addition, the course will be offered as an Open Course (perhaps a SOOC - a small online open course) to anyone interested in participating. Finally, it is hoped that experienced TiddlyWiki enthusiasts will join the Studio as participants: reviewing and critiquing projects, providing support to participants, and possibly engaging in collaborative projects with participants. Participants will study the historical and theoretical aspects of hypertext, and apply this understanding in the design and writing of interactive texts using TiddlyWiki. The primary teaching resources will include: More detail on the course is available in the Course Syllabus.
Hello. My name is Steve Schneider, and I am a College Professor at the SUNY Polytechnic Institute. Before working as a college professor, my other Occupations were Adjunct Faculty Member at Wellesley College and Research Analyst at Kalba Bowen Associates. When I am driving, I am frequently behind the wheel of a Red Honda Fit. Sometimes, I drive the Blue Dodge Dakota. These are just two of the many Cars I have owned. Before the Fit, I drove a Blue Subaru Forester and before that, a Grey Subaru Forester. There are a bunch of Digital activities in which I engage, some while working and others while relaxing. When I am surfing the Web, tweeting, listening to podcasts or music, or texting with my family,
I use an Apple iPhone SE. This phone replaced my Apple iPhone 5. Other Digital devices that I own include a Google Home (also for listening to podcasts or music) and an Apple MacBook Air (for working and watching videos. I Here, you have a text box into which you can type things: Large Circle Medium Circle Small Circle Large Square Medium Square Small Square Large Rectangle Medium Rectangle Small Rectangle Large Triangle Medium Triangle Small Triangle Tutorials: "As We May Think" is often described as the first conceptualization of hypertext. The original article was published in 1945 – and thus obviously referred to an analog rather than a digital system. The article is worth reading today for its scope of vision and the concepts introduced that remain key to us today. Explores the contemporary practice of writing in digital environments, with an emphasis on hypertext and hypertextuality. Reviews the history of writing, and the notion of interactivity. Techniques for writing digital texts with navigational and semantic elements are presented and practiced. Students design and write wikis featuring words, images, video and audio, and use a variant of Markdown to structure elements and render documents and texts consistent with contemporary standards of design and presentation.
Tue Jan16 Class participants are welcome to attend classroom-based workshops on the SUNY Polytechnic campus. Classroom Workshops are generally held on Tuesdays from 11:00-11:50 am in Donovan Hall 1229. Students registered for COM 375 are expected to attend. Attendance is optional but welcome for students registered IDT 575. All classroom workshops will be recorded for later review by students. Here is my first CollaborateUltra tutorial: https://us-lti.bbcollab.com/recording/c8fbca942f774d32b21bd7929fcd7512 Here it is in an iframe: Professor: Steven M. Schneider
Professor: Steven M. Schneider Explores the contemporary practice of writing in digital environments, with an emphasis on hypertext and hypertextuality. Reviews the history of writing, and the notion of interactivity. Techniques for writing digital texts with navigational and semantic elements are presented and practiced. Students design and write wikis featuring words, images, video and audio, and use a variant of Markdown to structure elements and render documents and texts consistent with contemporary standards of design and presentation. Upon completion of this course, successful participants will have:
Thu Jan18: Text, Interactivity, Writing and Designing
Tue Jan16: Saving, Serving, New Tiddlers
Exercise 1.01: Hello World!, Due: Wed 17 Jan Politics is the process of making decisions applying to all members of each group. More narrowly, it refers to achieving and exercising positions of governance — organized control over a human community, particularly a state. Furthermore, politics is the study or practice of the distribution of power and resources within a given community as well as the interrelationship(s) between communities. Goals of design/presentation
We explore the processes and techniques associated with writing and designing interactive texts. A quick demonstration of an interactive text:
This identifies plugins and other customizations that have been added to the default TiddlyWiki Macros:
If to interact with is to change, then a change in the material form of an object is a form of interactivity. So digitizing a printed text is a way of interacting with a printed text, just like hilighting and annotating. If we say that one can interact with a book by hilighting, we should also say that one can interact with a book by digitizing. I have had many dogs in my life. Growing up as a kid, we had a little mutt dog – part Beagle – named Scampy. I think we got him when I was five or six. I remember him disappearing after he bit me and one of our neighbors' kids: my parents told me he went to live on a farm in the country. Later, we got a Standard Poodle. He was brown, and named KoKo. He was a pretty good dog, but would run away whenever he could. He got hit by a car at a busy intersection about five miles from our house. When my wife and I moved into our house, we got a six-week old puppy that was half Newfoundland and half Labrador Retriever. He was a great dog from the moment we had him. We named him Buckaroo at first, but it didn't fit; after a few weeks his name became Barney, which fit him well (that was before I had heard of the purple dinosaur with the same name). He was a very big dog – entirely black – and looked more like a bear to some people than a dog. He was the biggest dog most people had ever seen. He lived for about 12 years, and was there for the first 6-10 years of the kids' lives. When one of our twin daughters – who was dog-obsessed from birth was about four, she decided she wanted a Husky. And, lo and behold, a young Husky showed up at our house one day! We had seen him at the neighbor's house for the past few days, but when we told him his dog was at our house, he said, "Nope. He just showed up last week, I think someone dropped him. Tag, you're it!" So, we kept him. His name was, somewhat unimaginatively, Husky. He was a great dog, though true to his breed. We gave up trying to keep him close to the house, and let him roam, thinking if someone shot him for chasing deer or hit him with a car, that would just be the price of his freedom. Friends reported seeing him over a range of about five miles from our house, and he had a regular routine of visiting various neighbors. He lived with us for about 14 years, and died recently as an old dog. When the same dog-obsessed kid turned seven, we got her a young puppy that was a Rat Terrier / Cocker Spaniel mix. She named him Chester. He is still around 13 years later. After Barney died, we got a Great Pyrenees from a rescue – by this time, petfinder.com had emerged and it was easy to find dogs. We named her Clover. Although we got her at four months, it was clear that her early days had caused some permanent damage. She was a rather strange dog – very friendly and very stand-offish at the same time. True to her breed, she was nocturnal and protective and spent every night patrolling the perimeter of the house, barking at whatever moved or blew in the wind. She lived entirely outside, rarely venturing into the house, and never moving from under the kitchen table when she did. Her bed was under the porch, and when people came to visit, she barked ferociously from her perch. We used to call her our porch troll. She died a natural death out in the field: we found her one day after we noticed she hadn't come home. More recently, we got a Rat Terrier from a rescue. We hoped he'd help with the rat problem in the barn, but he's not that into it. He came with the name Nipper, which we didn't think was appropriate, and changed it to Kipper, or Kip for short. He's a nasty little dog, and will probably live forever. Now that my kids are older, they are beginning to get their own dogs. One of my daughters lives in Brooklyn, and has two dogs: a tiny little Yorkshire Terrier named Pippen, and a yellow Lab named Zen. Another daughter (I have three, two with dogs, one without) also has two dogs. She trains working dogs for police and rescue work, and has two Labs. Birdy is trained for live search: she finds living people buried in rubble or hiding in building. Charge is a multi-purpose police dog, trained for scent detection and apprehension. I have had many dogs in my life. Growing up as a kid, we had a little mutt dog – part Beagle – named Scampy. I think we got him when I was five or six. I remember him disappearing after he bit me and one of our neighbors' kids: my parents told me he went to live on a farm in the country. Later, we got a Standard Poodle. He was brown, and named KoKo. He was a pretty good dog, but would run away whenever he could. He got hit by a car at a busy intersection about five miles from our house. When my wife and I moved into our house, we got a six-week old puppy that was half Newfoundland and half Labrador Retriever. He was a great dog from the moment we had him. We named him Buckaroo at first, but it didn't fit; after a few weeks his name became Barney, which fit him well (that was before I had heard of the purple dinosaur with the same name). He was a very big dog – entirely black – and looked more like a bear to some people than a dog. He was the biggest dog most people had ever seen. He lived for about 12 years, and was there for the first 6-10 years of the kids' lives. When one of our twin daughters – who was dog-obsessed from birth was about four, she decided she wanted a Husky. And, lo and behold, a young Husky showed up at our house one day! We had seen him at the neighbor's house for the past few days, but when we told him his dog was at our house, he said, "Nope. He just showed up last week, I think someone dropped him. Tag, you're it!" So, we kept him. His name was, somewhat unimaginatively, Husky. He was a great dog, though true to his breed. We gave up trying to keep him close to the house, and let him roam, thinking if someone shot him for chasing deer or hit him with a car, that would just be the price of his freedom. Friends reported seeing him over a range of about five miles from our house, and he had a regular routine of visiting various neighbors. He lived with us for about 14 years, and died recently as an old dog. When the same dog-obsessed kid turned seven, we got her a young puppy that was a Rat Terrier / Cocker Spaniel mix. She named him Chester. He is still around 13 years later. After Barney died, we got a Great Pyrenees from a rescue – by this time, petfinder.com had emerged and it was easy to find dogs. We named her Clover. Although we got her at four months, it was clear that her early days had caused some permanent damage. She was a rather strange dog – very friendly and very stand-offish at the same time. True to her breed, she was nocturnal and protective and spent every night patrolling the perimeter of the house, barking at whatever moved or blew in the wind. She lived entirely outside, rarely venturing into the house, and never moving from under the kitchen table when she did. Her bed was under the porch, and when people came to visit, she barked ferociously from her perch. We used to call her our porch troll. She died a natural death out in the field: we found her one day after we noticed she hadn't come home. More recently, we got a Rat Terrier from a rescue. We hoped he'd help with the rat problem in the barn, but he's not that into it. He came with the name Nipper, which we didn't think was appropriate, and changed it to Kipper, or Kip for short. He's a nasty little dog, and will probably live forever. Two summers ago, for some reason, we thought we needed a new puppy. We got another Great Pyrenees, and named her Kira. She's nothing like Clover: she actually comes in the house, and sleeps at night. After a difficult first year of puppy-dom, during which she ate most of our furniture, she has settled into a very nice (and very large) dog that more-or-less gets along with the goats and other dogs. Now that my kids are older, they are beginning to get their own dogs. One of my daughters (I have three, two with dogs, one without) trains working dogs for police and rescue work. She currently has two Labs. Birdy is trained for live search: she finds living people buried in rubble or hiding in buildings. Charge is a multi-purpose police dog, trained for scent detection and apprehension. Another daughter lives in Brooklyn, and also has two dogs: a tiny little Yorkshire Terrier named Pippen, and a yellow Lab named Zen. Zen flunked out of police dog school, but he's a good if rather energetic dog who would rather sleep and eat than work. Links reference SUNY Poly Library ebooks See also Annotation Using Ebrary (saved in ebsco folder) @book{37771720070101,
Abstract = {This innovative monograph focuses on a contemporary form of computer-based literature called'literary hypertext', a digital, interactive, communicative form of new media writing. Canonizing Hypertext combines theoretical and hermeneutic investigations with empirical research into the motivational and pedagogic possibilities of this form of literature. It focuses on key questions for literary scholars and teachers: How can literature be taught in such a way as to make it relevant for an increasingly hypermedia-oriented readership? How can the rapidly evolving new media be integrated into curricula that still seek to transmit'traditional'literary competence? How can the notion of literary competence be broadened to take into account these current trends? This study, which argues for hypertext's integration in the literary canon, offers a critical overview of developments in hypertext theory, an exemplary hypertext canon and an evaluation of possible classroom applications.},
Author = {Ensslin, Astrid},
ISBN = {9780826495587},
Publisher = {Continuum},
Series = {Continuum Literary Studies},
Title = {Canonizing Hypertext : Explorations and Constructions.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=377717&site=eds-live},
Year = {2007},
}
@book{2088719990101,
Abstract = {Previous ed.: 1993.},
Author = {McAleese, Ray},
ISBN = {9781871516289},
Publisher = {Intellect Books},
Title = {Hypertext : Theory Into Practice.},
Volume = {2nd ed},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=20887&site=eds-live},
Year = {1999},
}
@book{9126920020101,
Abstract = {Once the basic idea of hypertext had spread rapidly throughout the world via the Internet, the reception of hypertexts soon became subject of empirical research among psychologists, cognitive scientists, and educational researchers. As easy to use software for the writing of hypertexts (HTML editors) is now broadly available, there are no longer any technical obstacles for the use of hypertext production in teaching and learning. This book presents and analyses the learning effects that can be anticipated from the production of hypertexts. It includes laboratory experiments, studies on the production of hypertexts in the context of educational institutions, and reports on software environments designed for the production of hypertext. It includes theoretical, empirically and developmentally oriented contributions. The first three chapters link up directly with research on traditional writing while addressing aspects of the interaction between content and rhetoric during hypertext writ},
Author = {Bromme, Rainer and Stahl, Elmar and European Association for Research on Learning and, Instruction},
ISBN = {9780080439877},
Number = {Vol. 10},
Publisher = {Pergamon Press},
Series = {Advances in Learning and Instruction Series},
Title = {Writing Hypertext and Learning : Conceptual and Empirical Approaches.},
Volume = {1st ed},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=91269&site=eds-live},
Year = {2002},
}
@book{61668520130101,
Abstract = {This book explores the history of hypertext, an influential concept that forms the underlying structure of the World Wide Web and innumerable software applications. Barnet combines an analysis of contemporary literature with her exclusive interviews with those at the forefront of the hypertext innovation. She tells both the human and the technological story, tracing its path back to an analogue device imagined by Vannevar Bush in 1945, before modern computing had happened. ‘Memory Machines'offers an expansive record of hypertext over the last 60 years, pinpointing the major breakthroughs and fundamental flaws in its evolution. Barnet argues that some of the earliest hypertext systems were more richly connected and in some respects more flexible than the Web; this is also a fascinating account of the paths not taken. Barnet ends the journey through computing history at the birth of mass domesticated hypertext, at the point that it grew out of the university labs and into the Web. And y},
Author = {Barnet, Belinda},
ISBN = {9780857280602},
Publisher = {Anthem Press},
Series = {Anthem Scholarship in the Digital Age},
Title = {Memory Machines : The Evolution of Hypertext.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=616685&site=eds-live},
Year = {2013},
}
@book{53436320100101,
Abstract = {What happens to literature in an age of digital technology? Regards Croisés: Perspectives on Digital Literature provides an answer, with a collection of cutting-edge critical essays on literature gone digital. Regards Croisés is an important addition to existing research on digital literature, and will appeal to scholars of electronic writing, digital art,humanities computing, media and communication, and others interested in the field. It offers a significant advance in the field through its wide-angle perspective that globalizes digital literature and diversifies the current critical paradigms. Regards Croisés shows how digital literature connects with traditions and future directions of reading and writing communities all over the world. With contributions by authors from eight countries and three continents, the collection presents points of view on a transcontinental practice of digital literature. Regards Croisés also opens dialogues with expanded critical paradigms of digital l},
Author = {Baldwin, Sandy and Bootz, Philippe},
ISBN = {9781933202471},
Publisher = {West Virginia University Press},
Series = {UPCC Book Collections on Project MUSE},
Title = {Regards Croises : Perspectives on Digital Literature.},
Volume = {1st ed},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=534363&site=eds-live},
Year = {2010},
}
@book{8185320030101,
Abstract = {Mining the Web: Discovering Knowledge from Hypertext Data is the first book devoted entirely to techniques for producing knowledge from the vast body of unstructured Web data. Building on an initial survey of infrastructural issues—including Web crawling and indexing—Chakrabarti examines low-level machine learning techniques as they relate specifically to the challenges of Web mining. He then devotes the final part of the book to applications that unite infrastructure and analysis to bring machine learning to bear on systematically acquired and stored data. Here the focus is on results: the strengths and weaknesses of these applications, along with their potential as foundations for further progress. From Chakrabarti's work—painstaking, critical, and forward-looking—readers will gain the theoretical and practical understanding they need to contribute to the Web mining effort.• A comprehensive, critical exploration of statistics-based attempts to make sense of Web Mining.• Details the },
Author = {Chakrabarti, Soumen},
ISBN = {9781558607545},
Publisher = {Morgan Kaufmann},
Series = {Morgan Kaufmann Series in Data Management Systems},
Title = {Mining the Web : Discovering Knowledge From Hypertext Data.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=81853&site=eds-live},
Year = {2003},
}
@book{76178120130101,
Abstract = {In this revolutionary and highly original work, poet-scholar Glazier investigates the ways in which computer technology has influenced and transformed the writing and dissemination of poetry. In Digital Poetics, Loss Pequeño Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium. Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avant-garde poetics and its relationship to the on-line age, the relationship between web'pages'and book technology, and the way in which certain kinds of web constructions are in and of themse},
Author = {Glazier, Loss Pequeño},
ISBN = {9780817310745},
Publisher = {University Alabama Press},
Series = {Modern and Contemporary Poetics},
Title = {Digital Poetics : Hypertext, Visual-Kinetic Text and Writing in Programmable Media.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=761781&site=eds-live},
Year = {2013},
}
@book{7814820020101,
Abstract = {Tracing a journey from the 1950s through the 1990s, N. Katherine Hayles uses the autobiographical persona of Kaye to explore how literature has transformed itself from inscriptions rendered as the flat durable marks of print to the dynamic images of CRT screens, from verbal texts to the diverse sensory modalities of multimedia works, from books to technotexts.Weaving together Kaye's pseudo-autobiographical narrative with a theorization of contemporary literature in media-specific terms, Hayles examines the ways in which literary texts in every genre and period mutate as they are reconceived and rewritten for electronic formats. As electronic documents become more pervasive, print appears not as the sea in which we swim, transparent because we are so accustomed to its conventions, but rather as a medium with its own assumptions, specificities, and inscription practices. Hayles explores works that focus on the very inscription technologies that produce them, examining three writing mach},
Author = {Hayles, N. Katherine},
ISBN = {9780262083119},
Publisher = {The MIT Press},
Series = {Mediawork Pamphlet},
Title = {Writing Machines.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=78148&site=eds-live},
Year = {2002},
}
@book{7993419990101,
Abstract = {How We Write is an accessible guide to the entire writing process, from forming ideas to formatting text. Combining new explanations of creativity with insights into writing as design, it offers a full account of the mental, physical and social aspects of writing. How We Write explores: how children learn to write the importance of reflective thinking processes of planning, composing and revising visual design of text cultural influences on writing global hypertext and the future of collaborative and on-line writing. By referring to a wealth of examples from writers such as Umberto Eco, Terry Pratchett and Ian Fleming, How We Write ultimately teaches us how to control and extend our own writing abilities. How We Write will be of value to students and teachers of language and psychology, professional and aspiring writers, and anyone interested in this familiar yet complex activity.},
Author = {Sharples, Mike},
ISBN = {9780415185875},
Publisher = {Routledge},
Title = {How We Write : Writing As Creative Design.},
URL = {http://sunypoly.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=79934&site=eds-live},
Year = {1999},
}
I can share a link to a book or to (my) page (within SUNYIT)(my page, because I is highlighted?). this is the ebrary record:
TITLE
From Codex to Hypertext
SUBTITLE
Reading at the Turn of the Twenty-first Century
SERIES
Studies in Print Culture and the History of the Book
EDITOR
Anouk Lang
PUBLISHER
University of Massachusetts Press
PRINT PUB DATE
2012-12-01
EBOOK PUB DATE
N/A
LANGUAGE
English
PRINT ISBN
9781558499522
EBOOK ISBN
9781613762004
PAGES
276
LC SUBJECT HEADING
Books and reading.
LC CALL NUMBER
[Z1003.F84 2012]
DEWEY DECIMAL NUMBER
028.9
DOCUMENT TYPE
book Enclose a word or phrase in double brackets and it becomes a link.
Individuals writing essays produce text organized in patterns. For the writer, a well organized outline of information serves as a blue print for action. It provides focus and direction as the writer composes the document, which helps to ensure that the stated purpose is fulfilled. For the reader, clear organization greatly enhances the ease with which one can understand and remember the information being presented There are a variety of patterns of organization. Individuals writing essays produce text organized in patterns. For the writer, a well organized outline of information serves as a blue print for action. It provides focus and direction as the writer composes the document, which helps to ensure that the stated purpose is fulfilled. For the reader, clear organization greatly enhances the ease with which one can understand and remember the information being presented There are a variety of patterns of organization. This is an outline for an "essay" on Applied Hypertext. Excise is a technique used while writing in TiddlyWiki. This technique, enacted while editing a tiddler, cuts the selected text from the tiddler being edited, and pastes it into the text field of a new tiddler. The process of using this technique includes establishing the title of the tiddler to hold the selected text, and modifying the tiddler being edited to reference the new tiddler. By default, the text field of the new tiddler is transcluded into the tiddler being edited. The new tiddler can also be referenced withhin a macro for other effects. The excise button is likely on the Editor Toolbar, visible while editing a tiddler. The toolbar can be modified on the , which is accessible on the Control Panel
Appearance / Toolbars / Editor Toolbar tab In-class review of submissions:
Core concepts: with links to relevant TiddlyWiki.com pages Assignment: Note change in due date Core concepts: with links to relevant TiddlyWiki.com pages Assignment: Review in Class: I have had many dogs in my life. They have been owned by different people Objectives
Preliminary reviews of Student Work
New Concepts
Directions
(these directions were generated in the Workshop: Annotating Sources)
Exercise 1.01: Hello World!, Due: Wed 17 Jan This is my first exploration ever with the use of storylist in a filter. There are currently 1 tiddlers in the story list. Hello There|| the first tiddler in the story list. Hello There || the last tiddler in the story list. || the tiddler before this tiddler, First exploration with story list. || the tiddler after this tiddler ( First exploration with story list ) Here are all the tiddlers in the story list:
Hello There,
()
About Designing & Writing Interactive Texts
I'd like to get some feedback (anonymous or otherwise) from everyone in this class. Please complete this form when you have a chance. I'll share the results next week. Exploring core readings about hypertext and key examples of hypertextuality Streaming info forthcoming First session: Thursday, January 25, 2018 at 16:00:00 GMT
Notes identifying changes, updates and developments to this wiki
14th January 2018 A learning community is a group of people who share common academic goals and attitudes, who meet semi-regularly to collaborate on classwork. Such communities have become the template for a cohort-based, interdisciplinary approach to higher education. This may be based on an advanced kind of educational or 'pedagogical' design. Community psychologists such as McMillan and Chavis state that there are four key factors that defined a sense of community: (1) membership, (2) influence, (3) fulfillment of individuals needs and (4) shared events and emotional connections. So, the participants of learning community must feel some sense of loyalty and belonging to the group (membership) that drive their desire to keep working and helping others, also the things that the participants do must affect what happens in the community; that means, an active and not just a reactive performance (influence). Besides a learning community must give the chance to the participants to meet particular needs (fulfillment) by expressing personal opinions, asking for help or specific information and share stories of events with particular issue included (emotional connections) emotional experiences. Engaging in the practice of linking involves creating an opportunity to move, either within a text or to another text. Engaging in the practice of listing involves manipulating the range of nodes to present them as possible choices that can be selected in a given context.
• Linking in TiddlyWiki Engaging in the act of filtering involves manipulating the range of nodes (tiddlers) presented as possible choices that can be selected in a given context. Essentially: there is a population (of tiddlers), and the filter tells us which to include in presented list of tiddlers. The output of filters in tiddlywiki are generally presented as lists of tiddlers. Computer Lib/Dream Machines is one of the core texts in hypertext theory. Read the Wikipedia article, the excerpts and the commentary. Try to gain an understanding of what Nelson means by "hypertext." If interested, pursue the entire book from one of the links below. New Here is a technique used while writing in TiddlyWiki. This technique, enacted while viewing a tiddler, creates a new tiddler with a tag that is the title of the tiddler being viewed, and navigates to the edit view of the new tiddler. The new here button is likely visible on the More actions <1> copy urls for tiddlywiki files of interest from Hello, Class participants are welcome to attend online synchronous workshops. Online Workshops are generally held on Mondays from 7:00-8:15pm. The platform will be determined at a future date. Students attending the workshops will be invited to share their screens to review their work. Video is optional. Audio is mandatory. Attendance is optional for all students. All online synchronous workshops will be recorded for later review by students. The DesignWriteStudio will host an Open Course in the Spring 2018 semester, beginning January 23, 2018. Individuals interested in following the flow of the class by completing exercises and submitting critiques are welcome to become participants in the Studio. Open Students are asked to join the Design Write Google Group. For more information, please contact Steve Schneider, steve@sunyit.edu Anyone is welcome to participate in this learning community by engaging in some or all of the activities, including exercises, critiques and projects. The Open Course will launch on January 29, 2018 Individuals interested in following the flow of the class by completing exercises and submitting critiques are welcome to become participants in the Studio. Open Students are asked to join the Design Write Google Group. For more information, please contact Steve Schneider, steve@sunyit.edu Individuals interested in following the flow of the class by completing exercises and submitting critiques are welcome to become participants in the Studio. Open Students are asked to join the Design Write Google Group. For more information, please contact Steve Schneider, steve@sunyit.edu Wiki wiki is the first Hawai'ian term I learned on my first visit to the islands. The airport counter agent directed me to take the wiki wiki bus between terminals. I said what? He explained that wiki wiki meant quick. I was to find the quick bus. I thought "wiki wiki web" was more fun to say than "quick web", no mater what pronunciation is used. The name "quick web" would have been appropriate for a system that makes web pages quickly. Microsoft's "quick basic" was a precedent for such a name. I chose to call the technology WikiWikiWeb. I used exactly this spacing and capitalization because the technology would then recognize the term as a hyperlink. I consider WikiWikiWeb to be the proper name of the concept, of which Wiki or wiki is an abbreviation Upon completion of this course, successful participants will have: Like this: Tiddler Name This video provides a general introduction to TiddlyWiki.
It assumes you've completed the Workshop tasks demoed in Workshop: Saving, Serving, New Tiddlers
Thu Jan18: Text, Interactivity, Writing and Designing Readings: The first set of readings are designed to introduce, in very broad terms, the idea of "hypertext" as it was initially conceived, first in the 1940s, then in the 1960s, and then again with the emergence of the Internet in the 1990s. This video is an excellent introduction to the concept of digital text. If you've seen it before, watch it again, and think about it in the context of hypertext. Readings: The first set of readings are designed to introduce, in very broad terms, the idea of "hypertext" as it was initially conceived, first in the 1940s, then in the 1960s, and then again with the emergence of the Internet in the 1990s. This video is an excellent introduction to the concept of digital text. If you've seen it before, watch it again, and think about it in the context of hypertext. This great trick was shown to the tiddlywiki google group by Alberto Molina. I enhanced it a bit. http://www.isko.org/cyclo/hypertext#2.2 2.2 Rhizomes and hypotexts Hypertexts should not be confused (like Robinson and McGuire 2010 and Tredinnick 2013 do) with rhizomes (Deleuze and Guattari 1976; Eco 1984, 112; Landow 2006, 58-62; Eco 2007, 59-61; Mazzocchi 2013, 368-369), which constitute the limit case of hypertexts in which each node is mechanically linked to all the other nodes belonging to the same document, without selection by its author (Finnemann 1999, 27), among all the logically possible links, of only those considered to be useful, meaningful or at least sensible. Therefore rhizome is the term that can be used to indicate those hyptertexts (though neither very widespread nor particularly useful) so radically multilinear as to provide links from each node to all other nodes. Similarly, Ridi (1996) proposed the term hypotext (understood in a different way from Genette 1982 [1]) to indicate documents with little hypertextuality and, in particular, those so little multilinear as to be configured as unilinear documents in which each node is linked only to the previous node and to the next one, with the possible exceptions (in non-circular documents) of the first and the last node of the series. Several wikipedia articles will be helpful in understanding core terms for this course
Alicia Bower I've added some functionality that will capture titles of tiddlers tagged with
and present them as stretch text on Hello There Tagging is a kind of indexing, a process of labelling and categorizing information made to support resource discovery for users (from Tagging - a good article, though mostly focuses on social tagging after the first sentence) ...where users include writers and readers
The inclusion of part or all of an electronic document into one or more other documents by hypertext reference Nelson File Structure for the Complex, the Changing and the Indeterminate Upon completion of this course, successful participants will have:
I think the idea to expand an ellipsis
Approach 1: Approach 2: IDT 575 is a credit-bearing course offered by SUNY Poly. Students wishing to receive credit must register.
Professor: Steven M. Schneider Explores the contemporary practice of writing in digital environments, with an emphasis on hypertext and hypertextuality. Reviews the history of writing, and the notion of interactivity. Techniques for writing digital texts with navigational and semantic elements are presented and practiced. Students design and write wikis featuring words, images, video and audio, and use a variant of Markdown to structure elements and render documents and texts consistent with contemporary standards of design and presentation. Upon completion of this course, successful participants will have:
Thu Jan18: Text, Interactivity, Writing and Designing
Tue Jan16: Saving, Serving, New Tiddlers
Exercise 1.01: Hello World!, Due: Wed 17 Jan Engaging in the practice of tagging involves adding a label with semantic meaning to an object Engaging in the practice of templating involves creating a frameworks or set of instructions governing the presentation of an object There are 85 bibliographic references. Here are all of the titles, with author, sorted by author, with the URL provided:
>Semantic Annotation and Retrieval: Web of Hypertext - RDFa and Microformats
>Semantic Annotation and Retrieval: Web of Hypertext - RDFa and Microformats
>Inaccuracy and Reading in Multiple Text and Internet/Hypertext Environments
>Hypermedia reading strategies employed by advanced learners of English
>Prior knowledge in learning from a non-linear electronic document: Disorientation and coherence of the reading sequences
>THE ROLE OF SELF-REGULATED LEARNING ABOUT SCIENCE WITH HYPERMEDIA
>Historicizing Hypertext and Web 2.0: Access, Governmentality and Cyborgs
>Possible Worlds of Hypertext Fiction
>Theory: Hypertext Fiction and the Significance of Worlds
>Ontological Boundaries and Methodological Leaps The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond)
>Text and Hypertext Categorization
>delightful vistas Revisiting the Hypertext Garden
>Salience in hypertext: Multiple preferred centers in a plurilinear discourse environment
>Hypertext Writing: Learning and Transfer Effects
>THE ROLE OF DIFFERENT TASK INSTRUCTIONS AND READER CHARACTERISTICS WHEN LEARNING FROM MULTIPLE EXPOSITORY TEXTS
>Biodiversity and conservation. A Hypertext book. The origin, nature and value of biological diversity, the threats to its continued existence, and approaches to preserving what is left
>'Sailing the islands or watching from the dock': the treacherous simplicity of a metaphor. How we handle 'new (electronic) hypertext' versus 'old (printed) text'
>Spatial Hypertext as a reader tool in digital libraries
>Visual analytics of large dynamic digraphs
>HYPERTEXT
>Learning competition of hypertext
>the novel as hypertext Mapping Thomas Pynchon's Against the Day
>BROWSING - A MULTIDIMENSIONAL FRAMEWORK
>From Linking Text to Linking Crimes: Information Retrieval, But Not As You Know It
>THE CHANGING NATURE OF TEXT: A LINGUISTIC PERSPECTIVE
>Multimedia and Reading Ways: a State of the Art
>DESIGN FOR MORE TYPES: DESIGNING TEXT TO SUPPORT THE ACCESS, ENGAGEMENT, AND SUCCESS OF DIVERSE LEARNERS
>Literary Gaming
>"The Pen Is Your Weapon of Choice": Ludic Hypertext Literature and the Play with the Reader
>Digital Annotations: a Formal Model and its Applications
>Blue hypertext is a good design decision : no perceptual disadvantage in reading and successful highlighting of relevant information
>Learning Methods for Graph Models of Document Structure
>Learning from Multimedia and Hypermedia
>Development of a web-based hydrologic education tool using Google Earth resources
>Effects of linear reading, basic computer skills, evaluating online information, and navigation on reading digital text
>Hypertext and Journalism: Audiences Respond to Competing News Narratives
>What Are Preadolescent Readers Doing Online? An Examination of Upper Elementary Students' Reading, Writing, and Communication in Digital Spaces
>Reading Strategies and Cognitive Load: Implications for the Design of Hypertext Documents
>The Otherness of Cyberspace, Virtual Reality and Hypertext
>Hypertext - Classification and Evaluation
>Novices' need for exploration: Effects of goal specificity on hypertext navigation and comprehension
>Scholarly Hyperwriting: The Function of Links in Academic Weblogs
>Simple Semantic Enhancement of Instructional Hypertext
>Cognitive Load in Adaptive Multimedia Learning
>Encouraging serendipity in research: Designing technologies to support connection-making
>How children navigate a multiperspective hypermedia environment: The role of spatial working memory capacity
>HYPERTEXT AND ITS ANACHRONISMS
>Retracing the Footprints from Print to Digital: An Assessment of Textual Structure
>BEYOND CLICKS AND SEMANTICS Facilitating Navigation via the Web's Social Capital
>Hypertexts-Memories-Writing
>Hypertext
>The effects of the number of links and navigation support on cognitive load and learning with hypertext: The mediating role of reading order
>Why don't we read hypertext novels?
>Reading and the Body: The Physical Practice of Reading
>Kafka, Hypertext and Assemblages
>Structure Formation in the Web Toward A Graph Model of Hypertext Types
>Integrating Content and Structure Learning: A Model of Hypertext Zoning and Sounding
>The documentary question with regard to digital : back to the fundamentals
>The Unfortunates: Hypertext, Linearity and the Act of Reading
>How to support learning from multiple hypertext sources
>New Narratives Stories and Storytelling in the Digital Age Introduction
>Information Search and Navigation on the Internet
>Hypertext Was Born Around 1200 A Historical Perspective on Textual Navigation
>Hypertext An Interactive Literacy
>Feral Hypertext: When Hypertext Literature Escapes Control
>All Together Now Hypertext, Collective Narratives, and Online Collective Knowledge Communities
>The Rhetoric of New Media: Teaching a Rhetoric of Hypertext
>Cognitive Theories and Aids to Support Navigation of Multimedia Information Space
>The Effects of Interface Design and Age on Children's Information Processing of Web Sites
>THE INTERACTIVE DIAGRAM SENTENCE: HYPERTEXT AS A MEDIUM OF THOUGHT
>Do graphical overviews facilitate or hinder comprehension in hypertext?
>How adolescents navigate Wikipedia to answer questions
>Russian literature on the internet From hypertext to fairy tale
>Anaphora Resolution and Text Retrieval: A Linguistic Analysis of Hypertexts
>Online Metacognitive Strategies, Hypermedia Annotations, and Motivation on Hypertext Comprehension
>The Chem Paths Student Portal: Making an Online Textbook More than a Book Online
>Learning by Hypertext Writing: Effects of Considering a Single Audience versus Multiple Audiences on Knowledge Acquisition
>Analyzing Collaborative Processes and Learning from Hypertext Through Hierarchical Linear Modelling
>The file as hypertext Documents, files and the many worlds of the paper state
>Digital concept maps for managing knowledge and information
>Stuck in a Loop? Dialogue in Hypertext Fiction
>Stylistics and hypertext fiction
>Co-creation in ambient narratives
>Keys and the crisis in taxonomy: Extinction or reinvention?
>PESTLAW A HYPERTEXT BOOK ON PESTICIDE LEGISLATION IN THE UNITED KINGDOM Source: ?? Thomas Eis The TextStretch macro is a great tool
Compact and powerful. Want to hide some content? Try it:
The first line of the macro reads If you prefer other
Use quotation marks, if your parameter contains whitespace
Backup your TiddliWiki
Drag the link TextStretch over too, if you want to keep
New TextStretch Versions might be published on: http://tid.li/tw5/hacks.html#TextStretch This thread in the TiddliWiki Google Group was the ignition which made me develop my own version of a tool similar to
I am very greatful for Mat
At the same time I would like to thank all other members of the friendly TiddlyWiki community for
This video is an excellent introduction to the concept of digital text. If you've seen it before, watch it again, and think about it in the context of hypertext.
By clicking on the link, you engaged in the practice of following links. If you made this tiddler visible by tapping on its name in another tiddler, then there should be a link to that tiddler here: If there is nothing following the word here in the previous sentence, then you made this tiddler visible by some other way (perhaps by ciicking in the recent tab in the sidebar? Engaging in the practice of transcluding involves referencing one object ("A") in another ("B") such that the content of "A" appears to be a part of "B". One way of transcluding in TiddlyWiki involves referencing
one tiddler "A" from another tiddler "B" such that the content of "A" appears to be a part of "B". See Transclusion
Readings: The first set of readings are designed to introduce, in very broad terms, the idea of "hypertext" as it was initially conceived, first in the 1940s, then in the 1960s, and then again with the emergence of the Internet in the 1990s. This video is an excellent introduction to the concept of digital text. If you've seen it before, watch it again, and think about it in the context of hypertext.
Vandendorpe, Christian. From papyrus to hypertext: Toward the universal digital library. Vol. 11. University of Illinois Press, 2009.
Computer Lib/Dream Machines is one of the core texts in hypertext theory. Read the Wikipedia article, the excerpts and the commentary. Try to gain an understanding of what Nelson means by "hypertext." If interested, pursue the entire book from one of the links below. Politics is exercised on a wide range of social levels from clans and tribes of traditional societies, through modern local governments, companies and institutions up to sovereign states, to the international level. The inclusion of part or all of an electronic document into one or more other documents by hypertext reference
Using Annotation: A set of templates in TiddlyWiki to annotate paragraphs of an essay
Video of Workshop. Start at about 15:00 if you want to skip the intro stuff...
This workshop is presented with reference to Exercise 3.02 (Reverse Engineering Wikipedia), and compares mediawiki to tiddlywiki in the context of hypertextual practices and techniques. Along the way, we discuss and demo several features of Tiddlywiki that are referenced in Exercise 3.02 Directions: Table of Contents, Journals, New Here, Excising Text.
Tue Jan16: Saving, Serving, New Tiddlers Contents/Directories experimental: series of experimental projects, each of which should be described. Example: bibtex. Includes some wikis with ideas, like bibtex (each of these wikis is web-served via github...)
Submission Comments: Did this on Tuesday, but never handed it in. So I didn't know how to get back into it, so I re-did it.
Quick Crit: Try setting your default tiddler to [[My First Wiki]] that should render properly.
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Submission Comments: Played around a little didn't have to much time.
Quick Crit: Very nice! Looks like you played a bit with fonts and palettes! Enjoy
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Andrew is the first submission to the google form for sharing wikis who used the new comment field! If you look at the response spreadsheet, you'll see his comment. Then edit this tiddler and you'll see the field comments that contains the text of his comment. If you want to see the template for displaying the fields of this tiddler, click the Template link at the bottom of this tiddler.
Submission Comments: Played around a little didn't have to much time.
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Submission Comments: I remade this tiddler because my original had a difficult name (cvdemo2 vs sunypoly-mantelb-etc)
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Quick Crit: Very Nice! Looks like you played a bit with palettes and fonts. Have fun!
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Quick Crit: Nice. Looks like you are moving this into the About Me exercise, which is fine. But note this in the group, and I'll write some suggestions about how to handle things like default tiddlers.
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Quick Crit: Looks like you morphed this into About Me which is fine, but let's discuss this in the group. Start a new thread on "Using the Same TiddlySpot for Multiple Exercises" and we can discuss there.
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Quick Crit: Didn't see any tiddlers in your wiki...
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Quick Crit: I don't see any tiddlers in your wiki. Doesn't look like you de-activated sideeditor plugin.
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Quick Crit: Very nice! Looks like you've played around quite a bit. Good to see! Enjoy!
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Quick Crit: Didn't change the title of the wiki, but otherwise, Nice!
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Quick Crit: Nice. Maybe you could write a short tiddler here that explains how you are serving this in bigfishmedia.com...pretty cool!
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Quick Crit: Need to finish through on demo. Not exactly sure where you are here. But something isn't right.
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Submission Comments: For how much I know about the web and websites, I know very little about wikis. This truly is my first wiki and I'm looking forward to figuring out more about how it works.
Quick Crit: Nice!
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Submission Comments: So far, I am finding this confusing but I assume it will get easier to use the more I use it!
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Submission Comments: I did a second wiki, for more practice.
Quick Crit: Nice!
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Submission Comments: I'm getting there
Quick Crit: Nice!
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Submission Comments: This is for exercise 4.01
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Quick Crit: Great! Love to see the exploration. We'll learn it, but if you'd like to go faster, go to tiddlywiki.com and work through the "Learning" section. How did you change the default font?
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Quick Crit: set default tiddler to Hello there, world. in $:/ControlPanel
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Quick Crit: See your default tiddler to [[MyFirstWiki]] in $:/ControlPanel
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Submission Comments: I apologize for the tardiness of this assignment.
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Quick Crit: Nice! Glad to see you not following silly instructions for things like $:/SiteSubtitle and names of tiddlers. And you are right: the first tiddlers should be called MyFirstTiddler!
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Submission Comments: introduction to tiddlywiki and tiddlyspot, first "Hello, World" test wiki
Quick Crit: Nice!
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Submission Comments: I think i went a little too crazy with the tags, but the macros were definitely interesting to learn.
Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Nicely done. A few errors that you could correct someday, mostly in syntax. For example in About Me in Tags you have << tag "Weedsport School District>> which fails to render as desired; try <<tag "Weedsport School District">> instead.
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Quick Crit: √ About Me X About Me in Tags X <<list-links>> macro • Need to complete next steps as outlined in Exercise 1.02 Directions
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Submission Comments: This was fun I enjoyed playing around with these on my other tiddler.
Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Good to see palette work and customization of tools menu • Hey, and thannks for finding the refresh button
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Quick Crit: √ About Me X About Me in Tags √ <<list-links>> macro • Create an About Me in Tags tiddler - you're all ready to go!
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Nice work on palette • Excellent work in About Me to render narrative with links such as [[college experience|Education]]
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Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – – implement in tiddlers such as parents like this: <<list-links "[tag[parents]]">> • Nice use of longish links like [[Mom, my sister Cory, my brother Nolan, my other brother Davis, and our pet dog Karma|family]] to link to family • In future, check GoogleForm for SharedWiki Submissions to see if your response has been received; no need to submit multiple entries)
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Quick Crit: √ About Me X About Me in Tags √ <<list-links>> macro • I didn't find the About Me in Tags tiddler • Very interesting use of tags, including of all and the intersection between tags
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Submission Comments: If anyone knows why I can't access my site from multiple computers with out losing all of my data let me know
Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – – implement in tiddlers such as extra curricular activities like this: <<list-links "[tag[extra curricular activities]]">> • Make an appointment with James or with me via the group to work on your saving issues
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Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – implement in tiddlers such as Occupations/Trades like this: <<list-links "[tag[Occupations/Trades]]">> • Check default tiddler; you call for [[about me]] not [[About Me]] • Similar issues with respect to Hobbies versus hobbies
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Submission Comments: This was actually very fun to do because I used multiple tags for each item and ended up having nested tags. I think I'm starting to get the hang of this tiddly thing..
Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro. Nice job!
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Submission Comments: In this one I played around with the color palette (wayyyy too many color fields imo). I also encorporated tabs
Quick Crit: X About Me √ About Me in Tags X <<list-links>> macro implement in tiddlers such as Chapter like this:
– basically, just like you used <<tabs>> • Interesting color palette choices • Keep on exploring!
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Submission Comments: everyday need to create a tiddler, as old one when edited it's saving locally. I may me missing something here
Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Not sure why working is tagged with occupations • In future, check GoogleForm for SharedWiki Submissions to see if your response has been received; no need to submit multiple entries)
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Quick Crit: Interesting way to use iframe to show other web pages • NIce use of HTML5 code to format images in Main • Not really an About Me demonstrating tags and tagging...but that's ok...especially for "open" and advanced students, do as you please and I'll respond...
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Submission Comments: My Aboutme
Quick Crit: √ About Me X About Me in Tags X <<list-links>> macro • Also didn't follow through on creating tiddlers referenced in About Me
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Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro - – implement in tiddlers such as occupations like this: <<list-links "[tag[occupations]]">> - you started this in Occupation but, due to case-sensitivity, it didn't render as you intended.
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Interesting use of tags, especially on further information which is kind of a jumping off point for a future narrative
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Submission Comments: I like being able to create links to a page before they actually exist, so that when I go to edit that new page, it has already been created for me.
Quick Crit: √ About Me X About Me in Tags X <<list-links>> macro • In your tag tiddlers (such as personal life) you hard-coded the links; instead, use the <<list-links>> as requested in Exercise 1.02 Directions • Also, when you referenced personal life in About Me in Tags you put <<tag "Personal Life">> rather than <<tag "personal life">> (everything is case sensitive).
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Submission Comments: From the zoom I viewed on Monday, I was also able to incorporate images on a couple of my tiddler links.
Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Very different use of tags than proposed in exercise instructions - much more open-ended than instrumental • Very intriguing use of multiple tags as in binge-watcher which will be helpful in spinning narratives moving forward
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Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro - – implement in tiddlers such as locations like this: <<list-links "[tag[locations]]">> • You might find it helpful to disable the sideeditor plugin, and so set a default tiddler, as shown in the demo
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Submission Comments: I'm not sure if the order matters, but I created the tiddlers before I did any tagging
Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – implement in tiddlers such as unhealthy snacks like this: <<list-links "[tag[unhealthy snacks]]">> • Interesting question if "order matters" - it doesn't from a technical perspective, but it might from a cognitive perspective • you tagged places such s Latin America as travelling not Travelling as you referenced in [[About Me in Tags]] • Lots of countries! Perfect source material for projects.
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Submission Comments: I went over my tags again and made some minor revisions.
Quick Crit: But, you still haven't demonstrated use of <<list-links>> macro that I could find...
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Submission Comments: Sorry about the late submission, I was having trouble with the Tags.
Quick Crit: √ About Me X About Me in Tags X <<list-links>> macro – implement in tiddlers such as Work like this: <<list-links "[tag[Work]]">> • Max, you didn't use the <<list-links>> macro in your tags. None of your tags gather multiple tiddlers under s common tag; there seems to be a disconnect in understanding what tags do.
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Might have tagged dad to Air National Guard. Not sure why dan is tagged volleyball • Nice palette work.
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • An interesting and somewhat different use of tags, but you get the concept. For example, not sure why you've got things tagged to Michael –
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Quick Crit: √ About Me X About Me in Tags √ <<list-links>> macro • Create an About Me in Tags tiddler and populate it with references to your tags such as Occupations • Interesting to see you using two tags for objects such as Blue Honda Civic - we'll be using that technique in Exercise 2.01
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Submission Comments: Sorry for the lateness! I had the flu. I probably should've gone and got myself excused by a doctor until i could work again, but it's a bit late for that now. I know how to get seen at the wellness center now though, so it shouldn't happen again. I wanted to do this anyway to make sure I pick up the skills being taught.
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro • Love to see colored tags. And the change in the way tag displays (how did you do that?). You have a space after About Me in your default; that's why that didn't work. The value of tags for concepts like born is not clear. But you are ready for stretch text - start a new thread in the group How do I use stretch text? and I'll write a brief set of instructions!
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Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – implement in tiddlers such as Work like this: <<list-links "[tag[Work]]">> • Why not use the tag Video games instead of recreation? • Interesting use of Work tag to tag both places of employment (Hannaford), jobs (front end associate) as well as other aspects of working: number of years, part time jobs etc. If we get to in class, we'll work with RenameTags as a demo...
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Submission Comments: That was fun!
Quick Crit: You did a nice job building tiddlers. Love to see some images. Pay attention to the default tiddler; as you've got it set, the wiki reopens where you left off (which is a choice...). Most importantly, let's look at your tagging strategy. For example, you tag [[Grey Nisan Altima]] to [[Driving]] but then list it on [[Cars I have owned]]. This works sort of for now, but will fail you in the next exercise. Similarly, the code for [[Jobs]] is <<list-links filter:"[tag[Job]]">>
which means that when you type <<tag Jobs>> in About Me in Tags it doesn't populate the tag pill.
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Submission Comments: Couldn't see my submission that I sent on Saturday so submitting it again.
Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro – implement in tiddlers such as activities like this: <<list-links "[tag[activities]]">> • I was hoping to see at least two (better, three) things associated (tagged) to each of your dimensions (tags); probably should have specified in instructions • (check GoogleForm for SharedWiki Submissions to see if your response has been received; no need to submit multiple entries)
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Submission Comments: I tried submitting this earlier, not sure if it worked
Quick Crit: It worked! • In future, check GoogleForm for SharedWiki Submissions to see if your response has been received; no need to submit multiple entries)
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Quick Crit: √ About Me √ About Me in Tags √ <<list-links>> macro. • (Sharon - nice to see you!)
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Submission Comments: For the remainder of the semester, I will use the format "stachebrown.assignmentname.tiddlyspot.com". If this is problematic for you I will change it, but it is simple for me to keep track of and easier for me to remember.
Quick Crit: √ About Me X About Me in Tags √ <<list-links>> macro • Add About Me in Tags to complete assignments • Naming wikis up to you - as you see, I just ingest from google form what you submit.
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Submission Comments: Good exercise for exploring basic principles of hypertext on the TiddlySpot platform
Quick Crit: √ About Me √ About Me in Tags X <<list-links>> macro -
implement in tiddlers such as cars like this: <<list-links "[tag[cars]]">> • In future, check GoogleForm for SharedWiki Submissions to see if your response has been received; no need to submit multiple entries)
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Submission Comments: Final Copy of About Me Wiki with corrected Link List
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{{!!fieldname}} so that on <$appear> transclusion it isn't visible...)
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Submission Comments: Not sure about Step 7.3, but I attempted to fix 1.02 if you want to recheck it
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Submission Comments: Was confused about step 7.3
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Submission Comments: I actually don't remember the name I used last name, I apologize. I'll be using just my first and last name going forward.
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Submission Comments: I was a little confused on the narrative, so I just put added what I thought would matter.
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Submission Comments: I tried to create an isosceles triangle, but couldn't make it happen
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Submission Comments: I could not figure out Part 7.3
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Submission Comments: I started at this school on the wrong foot, clearly. This is the start of me getting back on track.
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Submission Comments: I tired to make a few more shapes. Also I didn't get my transclusion code to work so good.
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Submission Comments: Finally! Sorry to be so tardy with assignment!
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Submission Comments: I'll post some more shapes later in the week
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Submission Comments: I put all the new tiddlers under Exercise 2.01 using tags and a list macro
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Submission Comments: I couldn't the lists to work.
Quick Crit: See critique where I do some work with Aiicia's objects and weave them into a story.
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Submission Comments: Liked this exercise a lot.
Quick Crit: crit extends your work a bit. Nice job.
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Quick Crit: Nice! See crit for ways to use your games template
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Quick Crit: Nice job. You wrote on dogs (which is fine) so all of the provided templates and lists worked flawlessly! No external crit wiki.
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Quick Crit: Nice job. See crit that discusses the implications of the 1:1 relationship you build between Meme and source
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Submission Comments: I like movies
Quick Crit: excellent. see other critiques for demo of 2-stage listing process using [[each]] which could be applied to yours, like this one
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Quick Crit: Very interesting. I'll be sure to review this in class. See the critique for some detail.
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Submission Comments: I had a lot of trouble with the third generated story. I think I was trying to do too much (I was trying to format it to ensure the content would make sense together). The objects wiki is linked to from the reflections wiki. It is located at: http://sunypoly-cushinj-objects.tiddlyspot.com/
Quick Crit: This looks pretty good, actually. A bit more work needed on the 2nd order filter, which is complicated. See Crit
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Submission Comments: I got completely lost starting at step 5
Quick Crit: see critique to hopefully get you unlost
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Submission Comments: I'm still having difficulty creating wikis. I can't create and generate a wiki at tiddlyspot.com. I always have to shut down my laptop and start over before I could get to step #3.
Quick Crit: You noted that "length of tenure" was not an acceptable field name - but length-of-tenure would have worked fine • Because your field "years" was text instead of numeric, it sorts alpha not numerically • Template looks good! • Use the google group https://groups.google.com/forum/#!forum/designwrite for issues like not being able to save in TiddlySpot!
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Submission Comments: I got really confused with the fields and making them work, but I got help and made it work.
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Submission Comments: Had some issues with Transclusion, but I finally got it to work
Quick Crit: Good start. I did some work in crit to illustrate what we could do with these fields.
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Quick Crit: Works! (short step to more complexity, as shown in crit.
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Quick Crit: Nice job! good reflection. see crit for a demo...
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Quick Crit: See crit for some ideas; nicely done.
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Submission Comments: I am not really sure if I fully understand how to use templates.
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Submission Comments: Not sure I did it right.
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Submission Comments: Not quite sure what happened with the tags and the original screenshot of what it looked like w/ annotations isn't there for I cannot get back to a place where I can screenshot the original to make annotations in the first place. I was going to do it later, but the website changed mid construction. Also not quite sure about the journal requirements
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Submission Comments: Did I do step 5 correct
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Submission Comments: couldn't find original google news doc to take the story articles from
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Submission Comments: Not too sure about the templating, but maybe I got it??
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Submission Comments: Had to fix the "more about" area. Thanks.
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Submission Comments: I had some trouble following the instructions for this. I did my best. I was not really sure about the collapse story portion of this.
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Submission Comments: My first submission did not save correctly. This is the correct one.
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Submission Comments: Sometimes I get caught between writing the code and simply spelling out the action or effect I'm trying to achieve.
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Submission Comments: Apologies again for the late work, I'm having a lot of difficulty with the subject.
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Submission Comments: Not sure if its okay, but I'm resubmitting because I think I just used my first name for the previous submission
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Submission Comments: Hi - Well I've had some difficulties with this assignment. I learnt the hard way that If you start a wiki on one computer and open the url and edit on another computer; It do not save.
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Submission Comments: I finally understood what transcluding was. I wasn't exactly sure why you would need or want to do that, but I am glad that I understand it now by using Wikipedia as real world example.
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Submission Comments: Had fun with the table of contents really enjoyed this lesson.
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Submission Comments: I didn't reverse engineer any tables, though...
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Submission Comments: I actually found this assignment to be a lot of fun, however I am still confused on how one would go about coding the table of contents to make it their own.
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Submission Comments: This link has the work for both Exercise 3.02 and Exercise 3.02b
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Submission Comments: I tend to get transclusions and templates mixed up. If I understand correctly, a template can contain a bunch of transclusions?
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Submission Comments: I'm coming to terms with the non-linear aspects of Tiddlywiki; I keep going back and forth between the questions, and sometimes between exercises. I started working on 3.02 before 3.01.
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Submission Comments: I think I did better with this one than the last, though the tardiness remains inexcusable...
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Submission Comments: Hi - Is there any directions for Ex 3:02b? is the submission date Feb 4th?
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Submission Comments: Hello- I tried to work on the Annotated Bibliography. I'm not sure this is all that's needed, but I used just a some of the techniques for Hypertextual Writing
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Submission Comments: I was able to import my tables fine, but I think my original tiddler got deleted, but if you look up the mountains they were all still there with all the fields intact. I tried re-doing it, but it still would only give me the last thing I did which was the "country" tag.
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Submission Comments: This was interesting but tough
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Submission Comments: There is a journal with questions in my TiddlyWiki.
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Submission Comments: I did the first in paragraph divisions, which took a bit longer than planned
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Submission Comments: I am playing round with they story telling feature, kind of turning my wiki into a crappy book filled with my annotation around some stories. But I feel that it works well for this project because there is so much information. Jumping to "TOC for TOC" is an easy way to consume all of the information but I feel it is better presentation to start on the articles page
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Submission Comments: This submission for 4.02. I do not see Exercise 4.02: Bibliographic Exploration, so I have selected 4.01.
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Submission Comments: I am starting to understand more of what the goals of the exercises are!
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Submission Comments: I was all over the place with this one. I spent too much time perusing 20-30-page articles so that I could find content manageable enough to use for this exercise. I will have to come back and do some more work with it. I also couldn't figure out the highlighting feature.
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Submission Comments: Hope I did this one correctly
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Submission Comments: This is my bibliographic exploration, I did see an Exercise 4:02 in the list. So I uploaded it under Exercise 4:01
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Submission Comments: Just wanted to note Wikipedia's usage for some of the definitions in the tiddlers created if they weren't available from the article itself.
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A Web page
a document in html format that is responsive to an http:// request
that anyone can write
with modest technical skills
...but not that anyone can edit
so not collaboratively written
<$edit-text tiddler="MyTextTiddler" field="text" default=""/>
Sat Feb 17 2018 15:51:13 GMT-0500 (EST)
{{MyTextTiddler}} : Type in this box to see things change, such as the timestamp and the text presented below.
.mytextfield with value {{MyTextTiddler}} and you'll be able to transclude it like this::{{!!mytextfield}}Type in this box to see things change, such as the timestamp and the text presented below.
[tag[Annotator]] into the tab
15.1
15.10
15.11
15.12
15.13
15.14
15.15
15.16
15.17
15.18
15.19
15.2
15.3
15.4
15.5
15.6
15.7
15.8
15.9
8.1
8.10
8.11
8.12
8.13
8.14
8.15
8.16
8.17
8.18
8.19
8.2
8.20
8.21
8.22
8.23
8.24
8.25
8.3
8.4
8.5
8.6
8.7
8.8
8.9
Annotation
Essay 15: Varieties of Hypertext
Essay 8: Toward the Tabular Text
Essay Template
Hypertextual Practices
Paragraph Template
ShowNotesMacro
Circles
Squares
Rectangles
Triangles
Thu Jan18
Tue Jan23
Thu Jan25
Tue Jan30
Thu Feb01
Tue Feb06
Thu Feb08
Tue Feb13
Thu Feb15
Tue Feb20
Thu Feb22
Tue Feb27
Thu Mar01
Tue Mar06
Thu Mar08
Tue Mar13
Thu Mar15
Tue Mar20
Thu Mar22
Tue Mar27
Thu Mar29
Tue Apr03
Thu Apr05
Tue Apr10
Thu Apr12
Tue Apr17
Thu Apr19
Tue Apr24
Thu Apr26
Tue May01
COM 375 / IDT 575
Catalog Description
Goals
Objectives
Outcomes
Presentations
Tue Jan23: What is Hypertext?
Thu Jan25: Text, Hyper, Wiki, Tiddly
Tue Jan30: Presentation: Techniques for Hypertextual Writing in TiddlyWiki
Thu Feb01:
Tue Feb06: Annotation
Thu Feb08: Annotation & References
Tue Feb13: Tabular Text
Thu Feb15: Writing Bibliographic Essays
Tue Feb20: Hypertextual Practices: Reading II
Thu Feb22: Hypertextual Practices: Writing I
Tue Feb27: Hypertextual Practices: Writing II
Thu Mar01: Designing Interactive Texts I
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)
Workshops
Thu Jan18: New Tiddlers, Tagging, Linking
Thu Jan18: New Tiddlers, Tagging, Linking
Tue Jan23: Intro SVG & Images
Thu Jan25: Creating narratives, objects, fields, templates
Tue Jan30: Engaging in Hypertextual Practices
Thu Feb01: Table of Contents, Journals, New Here, Excising Text
Tue Feb06: Annotating Sources
Thu Feb08: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Thu Feb15: Annotating a Wikified Essay
Tue Feb20: Reference Tiddlers. Essay Tiddlers.
Thu Feb22: CSS I
Tue Feb27: CSS II
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)
Exercises
Exercise 1.02: About Me, Due: Sun 21 Jan
Exercise 2.01: Shapes, Due: Sun 28 Jan
Exercise 2.02: Objects, Due: Sun 28 Jan
Exercise 3.01: Reverse Engineering Google News, Due: Sun 04 Feb
Exercise 3.02: Reverse Engineering Wikipedia, Due: Sun 04 Feb
Exercise 3.03: Importing Wikipedia Tables, Due: Sun 18 Feb
Exercise 4.01: Annotating, Due: Sun 11 Feb
Exercise 4.02: Bibliographic Exploration, Due: Tue 20 Feb
Exercise 4.03: Writing a Narrative Essay, Due: Sun 04 Mar
Exercise 4.04: Hypertext in the 21st Century, Due: Sun 04 Mar
Exercise 5.01: To Be Determined, Due: Wed 14 Mar
Exercise 5.02: To Be Determined, Due: Sun 18 Mar
Exercise 5.03: To Be Determined, Due: Wed 21 Mar
Exercise 5.04: To Be Determined, Due: Sun 25 Mar
Exercise 6.01: To Be Determined, Due: Wed 28 Mar
Exercise 6.02: To Be Determined, Due: Sun 01 Apr
Exercise 6.03: To Be Determined, Due: Wed 04 Apr
Exercise 6.04: To Be Determined, Due: Sun 08 Apr
Exercise 7.01: To Be Determined, Due: Wed 11 Apr
Exercise 7.02: To Be Determined, Due: Sun 15 Apr
Exercise 7.03: To Be Determined, Due: Wed 18 Apr
Exercise 7.04: To Be Determined, Due: Sun 22 Apr
Exercise 7.05: To Be Determined, Due: Wed 25 Apr
Exercise 7.06: To Be Determined, Due: Sun 29 Apr
Readings
Politics
The Google Dictionary suggests three parts to the definition of design, each of which is a component worth thinking about:
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The Studio for Designing and Writing Interactive Texts


Think about the technique of linking while writing in Word, or GMail. Copy the destination link, highlight the word to be linked, click ``Insert Hyperlink`` and paste the destination link. Or, more commonly, copy / paste the link as raw text, and hope for the best.In ~WikiText, enclose a word or phrase in double brackets and [[it becomes a link]].
15.1
In computer science, the concept of hypertext designates a way of making
direct connections among various pieces of information, textual or nontex-
tual, that may or may not be located in the same file (or on the same “page”
by means of embedded links. Using an interface based primarily on visual
and intuitive elements such as color and icons, hypertext users can identify
the places in a document where additional information is attached and ac-
cess them directly with a mouse click.
15.2
Literary theory also uses the term hypertext, but in a very different sense.
For Gérard Genette, for example, hypertext is “any text derived from a previ—
ous text either through simple transformation . . . or through indirect trans-
formation.”1 In this sense, James Joyce’s Ulysses is a hypertext of Homer’s
Odyssey. The current concept of hypertext, as it comes to us from computer
science and the Web, is closer to that of intertext as first proposed by Julia
Kristeva and redefined by Michael Riffaterre: “the perception, by the reader,
of a relationship between a work and others that have either preceded or fol-
lowed it.” But the two concepts do not coincide completely, since the intertext,
in this meaning, results from the act of reading, while the hypertext we are
talking about is a computer construct of links and data corresponding to files
or parts of files that can be displayed in windows of various dimensions.
15.3
There are many hypertext software programs. Among the pioneers are
Hypercard, Hyperties, KMS, Intermedia, and Notecards. Since the advent
of the Web, hypertext has been based mainly on HTML (HyperText Markup
Language), XML (Extensible Markup Language), and XHTML.
15.4
Historically, the term hypertext was created in 1965 by Ted Nelson, who
used it to designate a new way of writing on the computer, in which the
units of text could be accessed nonsequentially. The text thus created would
reproduce the nonlinear structure of ideas as opposed to the “linear” format
of books, films, or speech. Nelson himself was indebted to a Visionary article
by Vannevar Bush, who in 1945 already envisaged a huge storage system for
human knowledge that anyone would be able to connect to and that would
allow them to annotate documents of interest. Even before the introduction
of the personal computer, Nelson had attempted to realize Bush’s dream us-
ing a computer system called Xanadu—the name of Mongol emperor Kublai
Khan’s palace, immortalized in a poem by Coleridge as a symbol of memory
and its accumulated treasures. Nelson’s Xanadu was supposed to lead to a
huge universal library system (docuverse), which could be consulted on
workstations by making “micropayments” for each information node ac-
cessed. Despite its commercial implications, Nelson’s model had a profound
influence on the evolution of hypertext, and the World Wide Web may be
seen as its culmination in an unrestricted form.
15.5
Hypertext can be used to manipulate data of all kinds, not only linguistic
data but also images, sound, video, and animation. It makes it possible to
regulate a reader’s interaction with a document by programming various
behavior into objects on the screen in relation to the reader’s movements
of the mouse: the author of a computer program can stipulate, for example,
that touching a certain word with the mouse pointer will change its form
or color or trigger a process that will lead to a new text. Through these fea-
tures, hypertext creates a radically new form of electronic dialogue in written
language. Even more numerous than the many forms of books, hypertext
products vary substantially in appearance and internal organization. Indeed,
computer technology can give digitized text any form imaginable.
15.6
In a text on paper, the paragraphs or blocks of information are arranged
in sequence, and the reader can access them essentially through contiguity,
relying on a number of tabular elements. In a hypertext, the various blocks
of information may be distinct and autonomous and may be located on a
single “page” or on separate “pages.” In accordance with the nature of the
document and the target readers, the author of a hypertext can provide ac—
cess by means of selection, association, contiguity, or stratification, and these
modes can exist alone or in different combinations.
15.7
Selection. In the simplest case, selection, readers select the block of
information they want to read from a list or enter a letter on the
keyboard. The various blocks of information are distinct units with
no essential links among them. Readers are guided by a specific need
for information, which exists only until it is satisfied. This model is
typical of the catalogue, the entire organization of which is based on
the principle of expansion, with each word of the index leading to
a detailed description. Dictionaries also work on this principle, but
each of their entries can also contain references to other entries such
as synonyms, antonyms, and so on. The user may also select from the
list of pages already consulted in the document during the work ses-
sion or may choose from a table of contents or from a tree diagram
in which the various branchings are accessible at different hierarchi-
cal levels. Finally, the most frequent mode of selection is by means of
hyperlinks indicated by a particular color, on which the user clicks in
order to explore the content behind them.
15.8
Applied to a text of a certain scope, the principle of selection is
also characteristic of hypertext fiction in which each screen page
includes several links to other pages, making Jorge Luis Borges’s
ideal of forking paths a reality. Similarly, in the case of a philosophi-
cal essay, every block of text could be followed by a number of icons,
each one corresponding to a possible continuation of the text accor—
ding to the anticipated reactions of the reader insofar as the author
could predict them. After reading a segment of text, the reader could
select the most relevant continuation. In so doing, he or she would
become actively involved in reading, making choices, and expressing
opinions at every step through each section read. But the number
of combinations can easily skyrocket. If a block of text gives rise to
three choices, and each of these gives rise to another three, there
would be nine possible continuations of the initial text at the third
level, twenty—seven at the fourth level, and eighty—one at the fifth. As
a result, 121 texts would have to be written for a sequence of five pa—
ragraphs to be accessible in perfectly “free” hypertext mode. Thus the
idea of providing choices at every level has to be abandoned, or their
proliferation would lead the reader into endless movement and force
the author to rigorously explore every logical alternative at each
point in the argument. Moreover, the freedom given the reader is pu-
rely artificial; it only reinforces the dominant position of the author,
who is the master of all possible outcomes.
15.9
Selection and association. In this mode, readers choose the element they
wish to consult but can also navigate among the blocks of informa-
tion, letting themselves be guided by the associations of ideas that
arise as they navigate and by the links offered them. This model is
typical of encyclopedias.
15.10
Selection, association, and contiguity. In addition to the above-men-
tioned modes of navigation, the blocks of information are here ac-
cessible sequentially, like the pages of a book. This model is suitable
for an essay or a scientific article and would be used, for example, for
adaptations of printed books. It corresponds to a simple transposi-
tion of codex format to electronic format. For example, in a hyper-
text adaptation of an essay such as Marvin Minsky’s Society of Mind,
readers can choose to select a title in the table of contents, search
for a word in the index, or move from section to section by scroll-
ing. The contiguity mode is useful only if a document is divided into
pages and sections that are supposed to be read in a specific order—
as is usually the case with a book.
15.11
Selection, association, contiguity, and stratification. In addition to being
accessible by the above-mentioned modes, the elements of informa-
tion can be distributed in two or three hierarchical levels accord-
ing to their degree of complexity. This makes it possible to meet the
needs of various categories of readers or to satisfy different informa-
tion needs for a single reader. This hypertext model best combines
the advantages of the codex with the possibilities opened up by the
computer by taking into account a new dimension of the text, that of
depth. By superimposing different layers of text on a single subject,
or to use another metaphor, by encircling a central nucleus with vari-
ous supplementary documents, the uses of which are well defined, a
stratified hypertext provides several books in one.
15.12
Users of such a hypertext could scroll through pages in a main
window, while at the same time being able to open one or more
secondary windows, providing more theoretical or more popular-
ized discourse. There are many fields in which this type of structure
with two or three layers, offering a basic discourse and additional
windows accessible on demand, is desirable. This is the case for self—
teaching textbooks and learning situations, for example, in which the
learner is confronted with a mass of interrelated concepts that may
not all be familiar. It is also the case for technical manuals in which
the user may at any time want to consult supplementary information
on a specific element.
15.13
These four modes of navigation may also be combined in the electronic edi-
tion of a work, opening up new perspectives for critical editions of works on
pap er. The main thread of reading would thus be the final version of the text,
dominating the layers of the previous versions, which the reader could also
choose to display in parallel windows. The different pages of the text would
be accessed by contiguity or by selection in a table of contents. Finally, com-
ments, notes, and illustrations would be accessible through connections or
associative links. Because of the richness and diversity of the links provided,
I will call this ideal type of hypertext a “stratified” or “tabular” hypertext.
15.14
The success of a tool of this kind obviously depends on the consistency
and interest of the base layer. While this is relatively easy to determine in
the case of a critical edition, the same is not true for other documents. In a
textbook aimed at a diverse readership, the various strata of information it
should contain would have to be established. The base layer would contain
the main thread of the text, consisting of the minimum information at a
medium level of difficulty. On every page where needed, hyperlinks would
open one or two supplementary windows, such as a “novice” window for
users whose knowledge is insufficient for them to grasp the main ideas and
an “expert” window for those who already possess the basic knowledge and
want to know more.
15.15
In creating an arrangement capable of working in depth and not only on
the surface of the thread of discourse, the author of a tabular hypertext must
take the utmost care in establishing the different layers and distributing the
information between the base level and the other layers. These choices will
vary with the type of text and target audience. The levels of information may
be distributed on the axis of concrete/ abstract or divided between narrative
and documents or between scholarly text, experimental data, and reference
works, or between didactic text, examples, and exercises, and so on.
15.16
Generally speaking, it does not seem desirable to create more than two
layers in addition to the base level. Increasing the number of layers will result
in a proliferation of cross—references, and reading would quickly become dif-
ficult. It is important to remember that in a reader-based textual economy,
reference markers should be provided that allow readers to predict the re—
sults of their actions when moving the mouse pointer over the surface of the
screen. The presence of a “novice” or an “expert” layer linked to a particular
word or page should thus always be indicated in the same way, by an icon
or the use of a color. Novice readers who click on an icon hoping to find an
explanation at their level would quickly become discouraged if, instead of
getting what they wanted, they encountered material intended for experts.
To be effective, reading must be based on stable conventions that enable
maximum concentration on the content.
15.17
Stratified hypertext will undoubtedly develop its own conventions just as
the print media did, and these will become part of readers’ culture. In spite
of the problems, this is where the most promising future for hypertext lies
if it is to move beyond the stage of utopian dreams of liberation to become
a productive working tool. However, these modes of organization of hyper—
text may lead to methods of navigation that are very different depending on
the degree of opacity or tabularity of the presentation of data. A literary or
game hypertext may opt for greater opacity in navigation and allow users to
produce events on the screen without knowing where they are or where they
are going. In this case, there are no obvious “movements,” since everything
occurs within the same visual framework. This form of opaque hypertext
may be suited to an experimental narrative such as Stuart Moulthrop’s He-
girascope3 or to an adventure game such as Myst, in which the players have
no idea of their position in relation to the puzzles to be solved. For an infor-
mational document, however, the most satisfying option for readers is one
that gives them a clear view of the distribution of information and enables
them to directly access all the blocks, with full control of their movement.
In this regard, it is significant that some games allow players to choose the
episode they want and allow them to display the percentage of the episode
completed at any time.
15.18
One area where the user’s route cannot be left to chance is learning. In-
structional programs and textbooks are based precisely on the principle that
the acquisition of knowledge cannot take place in random order guided only
by the learner’s associations. The first computer-assisted learning (CAL) pro-
grams took this principle of the sequential path to the limit, locking students
into programmed paths in which access to each exercise was conditional on
success in the previous one. Students were expected to move forward blindly,
without knowing how many steps they would have to go through or even,
sometimes, what they would actually learn from the program. Hypertext,
too, can be used in an opaque manner, to totally control users’ progress,
allowing them to follow only branchings accepted by the logic of the pro-
gram, thus reinforcing traditional practices of computer- assisted learning. I
believe, however, that hypertext should adopt some of the characteristics of
the age—old technology of the book to create a new product that will satisfy
the needs of demanding readers who use it as a tool for informational or
educational purposes.
15.19
As we can see, the production of a hypertext requires constant strategic
choices by the author. The distribution of elements of information also poses
the problem of identifying every primary textual unit with a title. If these
titles are meaningful to the users, it will be easier for them not only to find
the information they want, but also to keep track of which pages they have
read when they exit from the hypertext. In this way, readers will be able to
have real control over the text instead of being controlled by it or groping
their way through it.
paragraph-essay-16-context-hypertext
8.1
Unlike hieroglyphic writing, whose pictographic component gives it a visual,
spectacular aspect, alphabetic writing was conceived as a transcription of
speech and was from its inception associated with the linearity of orality. This
linearity is aptly symbolized in the arrangement used in early Greek writing, in
which the characters in the first line were aligned from left to right, and those
in the next line, from right to left, with the characters sometimes inverted,
imitating the path of a plow working a field, a metaphor that gave this type of
writing its name: houstrophedon.1 Readers were supposed to follow with their
eyes the uninterrupted movement the hand of the scribe had traced.
8.2
Orality thus extended its influence over the medium of text. The scribe
lined up columns of text on sheets of papyrus—which had been in use since
3000 BCE—until he came to the end of the scroll. Despite the characteristics
that made the papyrus scroll the quintessential book for three millennia, the
fact that it was rolled up into a volumen placed serious limitations on the
expansion of writing and helped maintain the book’s dependence on oral
language. It was taken for granted that readers would read from the first line
to the last and that they had no choice but to immerse themselves in the text,
unrolling the volumen as a storyteller recounts a story in a strictly linear con—
tinuous order. In addition, readers needed both hands to unroll the papyrus,
which made it impossible to take notes or annotate the text. Worse still, as
Martial observed, readers would often have to use their chin when rerolling
the volumen, leaving marks on the edge that were rather off-putting to other
library users (“Sic noua nec mento sordida charta iuuat” [“How pleasant is
a new exemplar unsoiled by chins”] .2
8.3
The advent of the codex was a radical break with this old order, and it
brought about a revolution in the reader’s relationship to the text. A codex
consists of pages folded and bound to form what we today call a book. These
pages were made of papyrus or parchmentmpaper having appeared in Eu-
rope only in the 11005. The codex emerged in classical Rome, several decades
before the Common Era, at the time of Horace, who used one himself as a
notebook. Smaller and easier to handle than a scroll, the codex was also more
economical, because it allowed scribes to write on both sides and even to
scrape off the surface and write on it again. But because of its antiquity, the
scroll was still considered to have greater dignity and was preferred by the
cultured elite, a status the codex did not acquire for several centuries. The
transition really took place only in the fourth century in the Roman Empire.
And it took even longer for the new medium to free itself from the model of
the volumenfljust as it took the automobile several decades to completely
rid itself of the model of the horse-drawn carriage. Such is the inertia of
dominant cultural representations.
8.4
Christians were the first to adopt the codex, which they used to spread the
Gospels. The new format, which was smaller, more compact, and easier to
hide and to handle than the scroll, also had the advantage of representing a
sharp break with the tradition of the Jewish Bible. Historians find more and
more evidence that the latter reason was in part responsible for the choice
of the codex format by the Christians, but the wide adoption of the codex
over the following centuries was essentially due to “the twin advantages of
comprehensiveness and convenience.”
8.5
The new element the codex introduced into the economy of the book was
the page. I will look at the problem of the integration of this important in-
novation into the digital order in the section “The End of the Page? [chapter
34]” It was the page that made it possible for text to break away from the
continuity and linearity of the scroll and allowed it to be much more easily
manipulated. Over the course of a slow but irreversible evolution, the page
made text part of the tabular order.
8.6
The codex is the quintessential book, without which the pursuit and dis-
semination of knowledge in our civilization could not have developed as fully
as they have. The codex gave rise to a new relationship between reader and
text. As one historian of the book writes, “This was a crucial development
in the history of the book, perhaps even more important than that brought
about by Gutenberg, because it modified the form of the book and required '
readers to completely change their physical position.”4 The codex left one
of the reader’s hands free, allowing him or her to take part in the cycle of
writing by making annotations, thus becoming more than a mere recipient
of the text. Readers could also now access the text directly at any point. A
bookmark let them take up reading where they left off, further altering their
relationship to the text. As another historian notes, it took “twenty centuries
for us to realize that the fundamental importance of the codex for our civili-
zation was to enable selective, noncontinuous reading, thus contributing to
the development of mental structures in which the text is dissociated from
speech and its rhythms.”5
8.7
When the potential of this union of form and content in the page became
apparent, various types of visual markers were gradually added to the organi-
zation of the book to help readers find their bearings more easily in the mass
of text and make reading easier and more efficient. Since the page constitutes
a visual unit of information related to the preceding and the following pages,
allowing it to be numbered and given a header, it has an autonomy that the
column of text in the volumen did not. Thanks to the page, it is possible to leaf
through a book and quickly know its contents, or at least the essentials.
8.8
The page can be displayed for all to see, inviting monks in scriptoria to
combine text and images. While the papyrus was rolled up again after read-
ing, the codex can remain open to a double page, as demonstrated by the big
psalters of the Middle Ages that were displayed on their lecterns in churches.
The page was thus the place where the text, which was previously seen as a
mere transcription of the voice, entered the visual order. From then on, it
would increasingly be handled like a painting and enriched with illumina-
tions, something that was profoundly foreign to the papyrus scroll. One can-
not see these illuminated manuscripts without being struck by their fusion of
letter and image. Reading becomes a polysemiotic experience in which the
perception of the image, which is far from a mere illustration, enables readers
to recreate in their own mental space the tensions and emotions experienced
by the artist. The readable gradually moves into the realm of the visible.6
8.9
The sight of the codex open on its lectern is emblematic of a religion whose
ideal was that all people should be able to read the sacred texts and share the
Revelation. Various other innovations gave rise to a change in the reader’s
relationship to the text and to reading. They include the insertion of spaces
between the words in Latin texts, which began about 700 CE in Irish scripto-
ria (Book of Kells) and led to decisive changes in the formatting of text.7 The
period from the eleventh to the thirteenth century saw the consolidation of
many features that allowed readers to escape the original linearity of speech,
such as the table of contents, the index, and the header. Paragraph breaks
indicated in the text by a pilcrow (9) made it easier for readers to deal with
units of meaning and helped them to follow the main divisions in the text.
8.10
This incunabulum from Thomas Aquinas’s Summa Theologica, printed in 1477 in Venice,
follows the manuscript tradition. The decorated initials and paragraph marks are hand—
drawn. The first lines are in larger letters. There is no pagination. The layout of the text in
two columns and its organization in the form of questions and answers, however, make
it very readable. The illuminations are intensely symbolic. The first page (bottom left) is
illustrated with an image that depicts the teaching of Thomas Aquinas. At the base of the
column, an image depicts the reception of the work by angels (bottom right).
8.11
In the fifteenth century, the printing revolution was another time of in-
tense reflection on the organization of the book. Febvre and Martin8 note
that the title page made its appearance—finally!——around 1480. After the
infancy of the modern book, the period of incunahula—books that imitated
manuscripts as faithfully as possible—printers quickly saw the full potential
of the page as a discrete semiotic space.
8.12
Page numbering, which became common in the mid-sixteenth century,
enabled readers to better control the duration and pace of their reading and
facilitated the discussion of texts by making it possible for readers of the same
edition to refer to the same passage. Once this step was taken, the move-
ment toward tabularization intensified, and sophisticated techniques allowing
multiple points of entry into the text became widely used, such as paragraph
summaries in the margin and the running head. It was now possible for
readers to precisely locate the point they had reached in their reading and to
compare the relative size of different sections—in short, to control their read-
ing progress. They could also forget the details of what they had read earlier,
since they could quickly find them again by referring to a table of contents
or index. They could read only the parts of a book that interested them.
Especially if a book is long, readers often construct the meaning on the
basis of clues of various types. Typographical markers such as bold, capitals,
italics, or color allow them to quickly classify the elements they read and to
avoid ambiguity; for example, the italicization of foreign words prevents con-
fusion with homonyms. When justified by the material, an index of proper
names, a detailed index, or a bibliography permits readers to choose the way
of accessing the text that best suits their information needs of the moment.
These reading aids did not come into use all at once but were slowly refined,
in a process that culminated in the golden age of print in the nineteenth cen-
tury, when the progress of mechanization heralded the triumph of the printed
page. The table of contents, for example, appeared in the twelfth century. The
paragraph break, the concept of which had been expressed through the use
of the pilcrow in manuscripts of the eleventh century, was finally indicated
by a line break, as seen in an edition of Gargantua printed in Lyon in 1537.
Thus shaped by the ergonomics of the codex, the text was no longer a linear
thread that was unreeled, but a surface whose content could be perceived from
various perspectives. These reading aids, which allow readers to consider the
text the same way they look at a painting or tableau, are here called tabular.
8.13
With the introduction of printing, the art of publishing fluctuated between
the temptations of textual continuity and those of pictorial page layout. On
the one hand, an austere layout in which the text was rigidly aligned within
the frame of the page was best for emphasizing the mechanical perfection of
printing and the linear aspect of language and reading; on the other hand,
publishers could also be tempted by a complex layout in which the text was
presented in different visual blocks among which readers could pick and
choose as they wished, exploring their relationships in nonsequential order.
These fluctuations in the ideal of the book can be observed across different
periods. In this regard, it is informative to compare some of the printing
manuals studied by the typography expert Fernand Baudin. A manual pub-
lished by the printer Fertel in 1723, entitled La science pratique de l’imprimerie,
is a model of complex layout in which marginal glosses sometimes spill over
into the space of the main text. In contrast, a manual published forty years
later, written by Fournier, presents the text in a single, rather narrow column
and seems to have gone back to the linear order. As for the book by Baudin,
who was himself a typ ographer and wished to give an account of an art that
was the passion of his life, it is in large format, with a column of glosses and
cross-references systematically running down one side of the main column
and sometimes even framing it, as Fertel’s glosses do.
8.14
The challenge of printed text, in short, is to strike a balance between se-
mantic and visual demands, the ideal obviously being a combination of these
two modes of access to the text around a coherent focus. We can still ob—
serve the naive triumph of the visual over the semantic in even the titles of
sixteenth-century books, in which printers did not hesitate to cut out words
in order to create a symmetrical effect.
8.15
For Walter Ong, this segmentation shows that reading did not focus on
the visual aspect of the words grasped globally, but was still based on oral
practices; the presentation of the text was independent of its semantic aspect.
It is also likely that such practices involved a kind of playful allusion to a way
of reading that was already seen as outmoded.
8.16
Today, publishers make such effort to enable the reader to perceive com~
plete words that they sometimes hesitate to break a word at the end of a line,
and thus to use justified text, although that was the typographical ideal for
centuries, beginning in the time of the volumen. This concern with match
ing the semantic unit with the unit of visual perception is also evident in
magazines, which tend increasingly to make the text of articles fit into the
space of the page or double page.
8.17
It is now commonly acknowledged that the revolution of the codex was
not limited to ergonomics, but that it also had an impact on the nature of
content and the evolution of mentalities in general. Indeed, once a text is
perceived as a visual entity, and no longer as primarily oral, it lends itself
much more readily to criticism. The eye, given the richness of optic nerve
endings in the cortex, can mobilize the analytical faculties more easily and
more precisely than the ear. As historian Henri-Jean Martin notes on the
revolution of printing in the sixteenth century: “By the same token, any
reasoned argument was as if detached from the realms of God and men and
took on an objective existence. The written text became amoral because it
detached from the writing process and no longer demanded that the reader
take on responsibility for it by reading it aloud. This may have facilitated
heretical propositions.”
8.18
The process by which the text became an autonomous object crossed a new
threshold during the Enlightenment, when the last barriers to its generali-
zed objectification collapsed. That era coincided precisely with spectacular
growth in reading in Europe. We will come back to this question.
8.19
With the advent of newspapers and the mass-circulation press, which
underwent rapid expansion in the nineteenth century, the formatting of
text became even more tabular. In a radical departure from the original
linearity of speech, text was now presented in the form of visual blocks that
complemented and responded to each other on the eye-catching surface of
the page. McLuhan gave a name to the metaphor implicit in this arrange—
ment: the “mosaic” text. Indeed, newspapers provide a textual mosaic, in
which the reading of various types of information is subtly influenced by the
surrounding news, as has been pointed out by analysts of newspaper layout:
“For about a century, newspapers have been laid out in such a way that each
item of information, though flat on the page, stands out by virtue of the mere
fact of its coexistence with other items of information on the page, which
in turn acquire their value from this competition? ’1” The same authors note
that until the end of the nineteenth century, newspapers consisted simply
of vertically aligned columns, each of which theoretically constituted a page
that went on without interruption. “This type of layout naturally favored a
temporal sequence of discourse: there were no interruptions for turning
pages, no illustrations to create a break or suspension of reading, and no
lead or subheading introducing secondary material. This form corresponds
exactly to the temporal logic of discourse: It is the presentation of logos in
movement, and not the staging of an event.”11
8.20
The sudden appearance of banner headlines was the beginning of a new
kind of layout, one'no longer guided by the logic of discourse, but by a spa-
tial logic. “The number of columns, the use of rules, the weight of the type,
the font, the position of illustrations, and the use of color make it possible
to bring together or move apart, to select, and to separate the units that, in
the newspaper, are units of information. Layout then emerges as a rheto-
ric of space that destructures the order of discourse (its temporal logic) to
reconstitute an original discourse, which is precisely the discourse of the
newspaper.”12
8.21
Today, there is no doubt that tabularity meets the formatting requirements
of information texts in that it allows the reader to apprehend them most
effectively. This is especially apparent in magazines, where the dominant
model involves framing textual material by means of a hierarchy of titles:
section heading, main heading and subheadings. A more substantial article
will often be presented in the form of a feature story that, in addition to the
main text, includes one or more sidebars elaborating on points raised in the
main text. Such fragmented layouts are sometimes criticized. Their primary
function is clearly to hold on to readers whose attention span is unsteady or
short, unlike a linear format, which is intended for the “serious reader.” This
way of breaking up text into different elements is also very well suited for
communicating a variety of information that readers can select according
to their interests. On the other hand, popular magazines may diverge a bit
from this ideal and give predominance to glossy ads and photographs in or—
der to entice the reader to leaf through their pages and absorb the discourse
of advertising.
8.22
When tabularity is taken into account, then, printed text is not exclusively
linear and tends to incorporate characteristics of the visual realm. Readers
are thus able to free themselves from the thread of the text and go directly
to relevant elements. A book may thus be said to be tabular when it involves
the simultaneous spatial presentation and highlighting of various elements
that may help readers identify the connections and find information that
interests them as quickly as possible.
8.23
The concept of tabularity thus covers at least two distinct phenomena—4n
addition to designating an internal arrangement of data. On the one hand,
it refers to the various organizational means that facilitate access to the con—
tent of the text: This is functional tabularity, as shown in tables of contents,
indexes, and division into chapters and paragraphs. On the other hand,
tabularity also suggests that the page may be viewed in the same way as a
painting and may include data from various hierarchical levels: This is visual
tabularity, which enables readers to switch from reading the main text to
reading notes, glosses, figures, or illustrations, all of which are present within
the space of the double page. This visual tabularity, which is seen primarily
in newspapers and magazines, is also found in varying degrees in scholarly
books, which may present various types of text juxtaposed on a single page.
It is obviously highly developed in electronic publishing, as seen on the
Web pages of major newspapers, magazines, and encyclopedias. In addi-
tion, through a hybridization of publishing techniques, the layout of books
or magazines increasingly borrows from the methods of electronic publish—
ing, such as the use of color, underlining, and marking of text elements, with
cross-references to thumbnails or sidebars. In this type of tabularity, the text
is shaped like visual material, with blocks referring to each other on the page
surface and sometimes incorporating illustrations.
8.24
The spatial projection of the thread of the text obviously depends on the
format of the book. The smaller the book, the less manipulation of the visual
blocks is possible; readers are confined to a continuous movement through a
single column of text with no interruption. This format, which was adopted,
for example, by the famous French collection Bibliotheque de la Pléiade, tends
to reinforce the ideal of a linear typography with nothing to break its regular-
ity. It is especially well suited to novels, which are read for content. National
traditions prevent French publishers from placing the table of contents at
the front of the book as it is in the English-speaking world, a position better
suited to the tabular ideal and to readers’ needs.
8.25
It should be added, however, that the degree of tabularity of a book will
also depend on its content and intended use. Thus, children’s books often do
not have page numbers: young readers have no need for them, since these
books are designed to be read or looked at from cover to cover and there is
no expectation of a reflective reading with note taking or references. Schol-
arly books, which are intended for readers for whom time is valuable, have
many tabular guideposts: volumes, chapters, sections, paragraphs, headers,
notes, introductory summaries, detailed index, index of proper names, and
bibliography. But the linear thread may still be a justifiable choice for devel-
oping an argument, insofar as the author wishes to ensure that the reader
follows the entire proof. On the other hand, the novel, which is derived from
the ancient art of the storyteller, generally demands sustained reading and
does not require elaborate tabular clues. The large number of chapters and
the hierarchy of sections in Victor Hugo’s novels, which often have a very
linear narrative thread, may be explained by the fact that these novels were
initially published in serial form in newspapers. Today, some writers, anxious
to make their readers read continuously and to have their work seen as high
literature, as different as possible from the tabular format of the magazine,
dispense altogether with chapters, and even paragraphs and punctuation.
comments or ShowNotesMacro
Aside: wouldn't it be nice if there were a macro that took an outline as above and excised it into separate tiddlers? try copy/paste the outline above into a new tiddler at text slicer edition and then click the slice button. This is significant text processing that we can apply to virtually any document
Hello World!
Template
https://www.youtube.com/watch?v=nESA8MV1zkIAbout Me
Create a new TiddlyWiki5 wiki
Set the default tiddler to
[[About Me]]Edit the About Me me tiddler and write a story about yourself
[[Words in double square brackets]]. Be sure to consider both nouns and verbs as dimensions and objects. Flesh out your story in other tiddlers
Do the About Me in Tags approach
<<list-links>> macro to generate a list of links matching the tag.Share your wiki
Template
Shapes
-shapeswidth="100" and height="100"width="20" and height="20"r="50"r="10"Shape, Color or Size<$list filter="[tag[Red]]">{{!!text}}</$list><<tag>> macro, including referencing <<tag Size>> and <<tag Color>>{{Circle}} {{Square}}
Template
Objects
Objectives
<$list> widget, importing tiddlers and using macros.Resources
Directions
-objects to the your standard name.[[ ]] to identify objects in your narrative (See my Dogs in My Life -- Objects. You should have at least five objects in your narrative.Breed, Owner, Size. I might expand to include each dog's Longevity (how many years it lived), and my Feelings (how much I liked (or didn't like) each dog). Breed, Owner, Size, Longevity and Feelings. Put appropriate values for each field in the tiddler.
Template
Reverse Engineering Google News
lede field
Template
Reverse Engineering Wikipedia
Template
Importing Wikipedia Tables
Sheet1) title and set it to equal the contents of a column that has unique values (such as Mountain in
Wikipedia: List_of_highest_mountains_on_Earth
)tags and set it to a constant value that describes your objects (i.e. mountains, cars, etc).
Template
Annotating
[[bracket keywords]] to make new tiddlersnew here to create annotations
Template
Bibliographic Exploration
Objective
Task
Template
Writing a Narrative Essay
Objectives
Directions
Some thoughts and further guidance
Reference Tiddlers
Bibliograpy / Reference List Tiddlers
Annotations
Template
Hypertext in the 21st Century
Expanding on the techniques you developed in work done in Exercise 4.03, create a TiddlyWiki that addresses one of these questions:
Project Specifications
Template
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
To Be Determined
Exercise 1.02: About Me, Due: Sun 21 Jan
Exercise 2.01: Shapes, Due: Sun 28 Jan
Exercise 2.02: Objects, Due: Sun 28 Jan
Exercise 3.01: Reverse Engineering Google News, Due: Sun 04 Feb
Exercise 3.02: Reverse Engineering Wikipedia, Due: Sun 04 Feb
Exercise 3.03: Importing Wikipedia Tables, Due: Sun 18 Feb
Exercise 4.01: Annotating, Due: Sun 11 Feb
Exercise 4.02: Bibliographic Exploration, Due: Tue 20 Feb
Exercise 4.03: Writing a Narrative Essay, Due: Sun 04 Mar
Exercise 4.04: Hypertext in the 21st Century, Due: Sun 04 Mar
Exercise 5.01: To Be Determined, Due: Wed 14 Mar
Exercise 5.02: To Be Determined, Due: Sun 18 Mar
Exercise 5.03: To Be Determined, Due: Wed 21 Mar
Exercise 5.04: To Be Determined, Due: Sun 25 Mar
Exercise 6.01: To Be Determined, Due: Wed 28 Mar
Exercise 6.02: To Be Determined, Due: Sun 01 Apr
Exercise 6.03: To Be Determined, Due: Wed 04 Apr
Exercise 6.04: To Be Determined, Due: Sun 08 Apr
Exercise 7.01: To Be Determined, Due: Wed 11 Apr
Exercise 7.02: To Be Determined, Due: Sun 15 Apr
Exercise 7.03: To Be Determined, Due: Wed 18 Apr
Exercise 7.04: To Be Determined, Due: Sun 22 Apr
Exercise 7.05: To Be Determined, Due: Wed 25 Apr
Exercise 7.06: To Be Determined, Due: Sun 29 Apr
[list[$:/StoryList]]Welcome to the The Studio for Designing and Writing Interactive Texts
Classes
Exercises
Presentations
Workshops
Navigation Help
Hyper
LiveStreamed Thursdays
11th January 2018
3rd January 2018
19th December 2017
18th December 2017
13th December 2017
6th December 2017
4th December 2017
30th November 2017
<$list filter="[...]">
<$list filter="[tag[Techniques for Hypertextual Writing in TiddlyWiki]]"
<<currentTiddler>><br>
</$list>
• Listing in TiddlyWiki
• Tagging in TiddlyWiki
• Templating in TiddlyWiki
• Transcluding in TiddlyWiki




[[Tiddler Name]]
https://www.youtube.com/watch?v=nl_lWYUufu4
Tue Jan23: What is Hypertext?
Thu Jan25: Text, Hyper, Wiki, Tiddly
Tue Jan30: Presentation: Techniques for Hypertextual Writing in TiddlyWiki
Thu Feb01:
Tue Feb06: Annotation
Thu Feb08: Annotation & References
Tue Feb13: Tabular Text
Thu Feb15: Writing Bibliographic Essays
Tue Feb20: Hypertextual Practices: Reading II
Thu Feb22: Hypertextual Practices: Writing I
Tue Feb27: Hypertextual Practices: Writing II
Thu Mar01: Designing Interactive Texts I
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)
Readings: Tue Jan23-description
reading template
Search tag: Replace by:
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3.02 Reverse Engineering Wikipedia Tables
Alicia Bower (Flinn
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2.01 Shapes
Alicia Bower (Flinn)
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.03 Importing Wikipedia Tables
Amber Goodfriend
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Andrew Houde
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Benjamin Furbeck
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.03 Importing Wikipedia Tables
Biaggio Mantella
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1.01 Hello World!
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1.02 About Me
Brandon Helsing
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Carson Palmer
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
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2.01 Shapes
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3.01 Reverse Engineering Google News
Chris Copeland
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Derek Smith
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Dylan Neil
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1.02 About Me
Dylan Pagillo
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1.01 Hello World!
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
Elizabeth Simonelli
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Eric Brown
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
Gladson Natarajan
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
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4.01 Annotations
Gladson natarajan
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2.01 Shapes
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2.02 Objects
James Ward
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1.01 Hello World!
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1.02 About Me
Jared Duquette
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Jillian Christiano
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
Justin Cushing
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Karina
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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4.01 Annotations
Malyka
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Marcus
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3.02 Reverse Engineering Wikipedia Tables
Marcus Spratley
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.01 Reverse Engineering Google News
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4.01 Annotations
Marguerite Fraine
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.03 Importing Wikipedia Tables
Marvin Pierre
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Max Nadel
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Megan
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1.01 Hello World!
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.03 Importing Wikipedia Tables
Michael
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Michael C. Miller
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Mickey
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.03 Importing Wikipedia Tables
MS
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1.01 Hello World!
Nell Evangeline
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1.01 Hello World!
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1.02 About Me
Nell Evangeline Morrissey
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2.01 Shapes
Orinthea
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
Orinthea Sommersell
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1.01 Hello World!
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1.02 About Me
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
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4.01 Annotations
PattyV
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Ray Buckley
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
Ryan Maher
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1.01 Hello World!
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
SeanH
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1.01 Hello World!
SHallenbeck
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Shannon MacColl
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Sharon Healy
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
Steve
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1.01 Hello World!
Steve B
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2.01 Shapes
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2.02 Objects
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3.01 Reverse Engineering Google News
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
Steve Beckwith
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1.02 About Me
Tristan Retzke
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1.01 Hello World!
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1.02 About Me
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1.02 About Me
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1.02 About Me
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1.02 About Me
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1.02 About Me
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1.02 About Me
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1.02 About Me
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2.01 Shapes
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2.02 Objects
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3.02 Reverse Engineering Wikipedia Tables
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4.01 Annotations
<<strex "content" "label" "start" "end" "class" "id">>Outcomes
<<strex>>[tag[TextStretch]] <<stretch>>[prefix[$:/_TWaddle]]CRN Subj Crs Sec CR 3776 IDT 575 01H 3 COM 375 / IDT 575
Catalog Description
Goals
Objectives
Outcomes
Presentations
Tue Jan23: What is Hypertext?
Thu Jan25: Text, Hyper, Wiki, Tiddly
Tue Jan30: Presentation: Techniques for Hypertextual Writing in TiddlyWiki
Thu Feb01:
Tue Feb06: Annotation
Thu Feb08: Annotation & References
Tue Feb13: Tabular Text
Thu Feb15: Writing Bibliographic Essays
Tue Feb20: Hypertextual Practices: Reading II
Thu Feb22: Hypertextual Practices: Writing I
Tue Feb27: Hypertextual Practices: Writing II
Thu Mar01: Designing Interactive Texts I
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)
Workshops
Thu Jan18: New Tiddlers, Tagging, Linking
Thu Jan18: New Tiddlers, Tagging, Linking
Tue Jan23: Intro SVG & Images
Thu Jan25: Creating narratives, objects, fields, templates
Tue Jan30: Engaging in Hypertextual Practices
Thu Feb01: Table of Contents, Journals, New Here, Excising Text
Tue Feb06: Annotating Sources
Thu Feb08: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Thu Feb15: Annotating a Wikified Essay
Tue Feb20: Reference Tiddlers. Essay Tiddlers.
Thu Feb22: CSS I
Tue Feb27: CSS II
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)
Exercises
Exercise 1.02: About Me, Due: Sun 21 Jan
Exercise 2.01: Shapes, Due: Sun 28 Jan
Exercise 2.02: Objects, Due: Sun 28 Jan
Exercise 3.01: Reverse Engineering Google News, Due: Sun 04 Feb
Exercise 3.02: Reverse Engineering Wikipedia, Due: Sun 04 Feb
Exercise 3.03: Importing Wikipedia Tables, Due: Sun 18 Feb
Exercise 4.01: Annotating, Due: Sun 11 Feb
Exercise 4.02: Bibliographic Exploration, Due: Tue 20 Feb
Exercise 4.03: Writing a Narrative Essay, Due: Sun 04 Mar
Exercise 4.04: Hypertext in the 21st Century, Due: Sun 04 Mar
Exercise 5.01: To Be Determined, Due: Wed 14 Mar
Exercise 5.02: To Be Determined, Due: Sun 18 Mar
Exercise 5.03: To Be Determined, Due: Wed 21 Mar
Exercise 5.04: To Be Determined, Due: Sun 25 Mar
Exercise 6.01: To Be Determined, Due: Wed 28 Mar
Exercise 6.02: To Be Determined, Due: Sun 01 Apr
Exercise 6.03: To Be Determined, Due: Wed 04 Apr
Exercise 6.04: To Be Determined, Due: Sun 08 Apr
Exercise 7.01: To Be Determined, Due: Wed 11 Apr
Exercise 7.02: To Be Determined, Due: Sun 15 Apr
Exercise 7.03: To Be Determined, Due: Wed 18 Apr
Exercise 7.04: To Be Determined, Due: Sun 22 Apr
Exercise 7.05: To Be Determined, Due: Wed 25 Apr
Exercise 7.06: To Be Determined, Due: Sun 29 Apr
Readings
Reading and writing hypertextually involves the following techniques
<$list filter="[is[current]tag[...]]">
<$list filter="[is[current]tag[Techniques for Hypertextual Writing in TiddlyWiki]]">
This tiddler is named {{!!title}}
</$list>
This tiddler is named Templating in TiddlyWiki
Engaging in the act of templating involves creating a frameworks or set of instructions governing the display of information for a set of filtered tiddlers.
* Very thoughtful discussion of templating in Transclusion with Templates:
>Transcluding via a template is like applying a mask: assuming that the source tiddler contains generic references (like eye holes in a mask), these will be replaced with the target tiddlers values (like the eyes of the person who wears the mask).
Adida, Ben and Birbeck, Mark and Herman, Ivan
Adida, Ben and Birbeck, Mark and Herman, Ivan
Afflerbach, Peter and Cho, Byeong-Young and Kim, Jong-Yun
Akyel, Ayse and Ercetin, Gulcan
Amadieu, Franck and Tricot, Andre and Marine, Claudette
Azevedo, Roger
Balakrishnan, Sreepriya
Bell, A.
Bell, Alice
Bell, Alice
Benbrahim, Houda and Bramer, Max
Bernstein, Mark
Bexten, Birgitta
Braaksma, Martine and Rijlaarsdam, Gert and van den Bergh, Huub
Braten, Ivar and Gil, Laura and Stromso, Helge I.
Bryant, Peter J.
Bublitz, Wolfram
Buchanan, G. and Blandford, A. and Jones, M. and Thimbleby, H.
Burch, Michael
Cantoni, Lorenzo and Tardini, Stefano
Cassany, Daniel and Aliagas, Cristina
Chanen, Brian W.
Chang, S. J. and Rice, R. E.
Crestani, Fabio
Crystal, David
Diaz Noci, Javier
Edyburn, Dave L. and Edyburn, Keith D.
Ensslin, A.
Ensslin, Astrid and Ensslin, A.
Ferro, Nicola
Gagl, Benjamin
Geibel, Peter and Mehler, Alexander and Kuehnberger, Kai-Uwe
Gerjets, Peter and Kirschner, Paul
Habib, Emad and Ma, Yuxin and Williams, Douglas
Hahnel, Carolin and Goldhammer, Frank and Naumann, Johannes and Kroehne, Ulf
Huesca, Robert and Dervin, Brenda
Hutchison, Amy C. and Woodward, Lindsay and Colwell, Jamie
Ignacio Madrid, R. and Canas, Jose J. and van Oostendorp, Herre
Ilter, Tugrul
Jakobs, Eva-Maria and Lehnen, Katrin
Janez, Alvaro and Rosales, Javier
Jose Luzon, Maria
Jovanovic, Martin
Kalyuga, Slava
Kefalidou, Genovefa and Sharples, Sarah
Kornmann, Jessica and Kammerer, Yvonne and Anjewierden, Anjo and Zettler, Ingo and Trautwein, Ulrich and Gerjets, Peter
Krapp, Peter and Krapp, P.
Lamberti, Adrienne P.
Lawless, Kimberly A. and Schrader, P. G.
Lebrave, Jean-Louis
Levy, Gabriel and Levy, G.
Madrid, R. Ignacio and Van Oostendorp, Herre and Melguizo, Mari Carmen Puerta
Mangen, Anne and van der Weel, Adriaan
McLaughlin, T.
Mecchia, Giuseppina and Stivale, Charles J.
Mehler, Alexander
Mehler, Alexander and Waltinger, Ulli
Menon, Bruno
Mitchell, Kaye
Naumann, Ania B. and Wechsung, Ina and Krems, Josef F.
Page, Ruth and Thomas, Bronwen
Pan, Bing and Fesenmaier, Daniel R.
Platteaux, Herve
Provenzo, Eugene F., Jr. and Goodwin, Amanda P.
Rettberg, Jill Walker
Rettberg, Scott
Rice, Jeff
Roberts, Shelley and Parush, Avi and Lindgaard, Gitte
Rose, Mei and Rose, Gregory M. and Blodgett, Jeffrey G.
Rosenberg, Jim
Salmeron, Ladislao and Baccino, Thierry and Canas, Jose J. and Madrid, Rafael I. and Fajardo, Inmaculada
Salmeron, Ladislao and Cerdan, Raquel and Naumann, Johannes
Schmidt, Henrike
Schmolz, H.
Shang, Hui-Fang
Shorb, Justin M. and Moore, John W.
Stahl, Elmar and Bromme, Rainer and Stadtler, Marc and Jaron, Rafael
Stylianou-Georgiou, Agni and Papanastasiou, Elena and Puntambekar, Sadhana
Suresh, Mayur
Tergan, S. O.
Thomas, Bronwen and Thomas, B.
Trimarco, Paola
van Doorn, Mark and de Vries, Arjen P.
Walter, David Evans and Winterton, Shaun
Warwick, C. J. and Mumford, J. D. and Norton, G. A.What is a text?
A bounded collection of content and design features
Woven together by authors
Absorbed by readers
Notes from
Wikipedia: Text (literary theory)
Text as fabric - woven strands of meaning
A text is an object that can be read
A text is the original content created, curated and/or designed by authors
See also
Wikipedia: Document
What is a text?
A bounded collection of content and design features
Woven together by authors
Absorbed by readers
Notes from
Wikipedia: Text (literary theory)
Text as fabric - woven strands of meaning
A text is an object that can be read
A text is the original content created, curated and/or designed by authors
See also
Wikipedia: Document
Template
Make text short and expandable
Features and Syntax
<<strex magic>> will stretch it out when the dots are clicked:
Full Syntax
<<strex "content" "label" "start" "end" "class" "id">> Default Values
\define strex(content:"TextStretch", label:"…", start:"[", end:"]", class:"", id="_false_")<<ref>> shorthand in $:/_telmiger/ref.
Parameters
Installation
Inspiration
Thank You
Workshop: To Be Determined (Apr05)
Exercise Assigned: Exercise 6.04: To Be Determined (Due:
Sun 08 Apr
)
Workshop: To Be Determined (Apr12)
Exercise Assigned: Exercise 7.02: To Be Determined (Due:
Sun 15 Apr
)
Workshop: To Be Determined (Apr19)
Exercise Assigned: Exercise 7.04: To Be Determined (Due:
Sun 22 Apr
)
Workshop: To Be Determined (Apr26)
Exercise Assigned: Exercise 7.06: To Be Determined (Due:
Sun 29 Apr
)
Workshop: Table of Contents, Journals, New Here, Excising Text
Exercise Assigned: Exercise 3.02: Reverse Engineering Wikipedia (Due:
Sun 04 Feb
)
Workshop: XLSX import
Exercise Assigned: Exercise 3.04: Importing Wikipedia Tables 2 (Due:
Sun 18 Feb
)
Workshop: Annotating a Wikified Essay
Exercise Assigned: Exercise 4.02: Bibliographic Exploration (Due:
Tue 20 Feb
)
Workshop: CSS I
Exercise Assigned: Exercise 4.04: Annotated Bibliography (Due:
Sun 04 Mar
)
Workshop: New Tiddlers, Tagging, Linking
Exercise Assigned: Exercise 1.02: About Me (Due:
Sun 21 Jan
)
Workshop: Creating narratives, objects, fields, templates
Exercise Assigned: Exercise 2.02: Objects (Due:
Sun 28 Jan
)
Workshop:
Exercise Assigned: Exercise 4.06: Hypertext in the 21st Century (Due:
)
Workshop: To Be Determined (Mar15)
Exercise Assigned: Exercise 5.02: To Be Determined (Due:
Sun 18 Mar
)
Workshop: To Be Determined (Mar22)
Exercise Assigned: Exercise 5.04: To Be Determined (Due:
Sun 25 Mar
)
Workshop: To Be Determined (Mar29)
Exercise Assigned: Exercise 6.02: To Be Determined (Due:
Sun 01 Apr
)
{{Enclose Tiddler Name in Double Braces}}{{Tiddler Name!!FieldName}}{{Creating Transclusions!!thisfield}} results in
Workshop: To Be Determined (Apr03)
Exercise Assigned: Exercise 6.03: To Be Determined (Due:
Wed 04 Apr
)
Workshop: To Be Determined (Apr10)
Exercise Assigned: Exercise 7.01: To Be Determined (Due:
Wed 11 Apr
)
Workshop: To Be Determined (Apr17)
Exercise Assigned: Exercise 7.03: To Be Determined (Due:
Wed 18 Apr
)
Workshop: To Be Determined (Apr24)
Exercise Assigned: Exercise 7.05: To Be Determined (Due:
Wed 25 Apr
)
Workshop: Annotating Sources
Exercise Assigned: Exercise 4.01: Annotating Sources (Due:
Sun 11 Feb
)
Workshop: XLSX import
Exercise Assigned: Exercise 3.03: Importing Wikipedia Tables (Due:
Sun 18 Feb
)
Workshop: Reference Tiddlers. Essay Tiddlers.
Exercise Assigned: Exercise 4.03: Writing a Narrative Essay (Due:
Sun 04 Mar
)
Workshop: CSS II
Exercise Assigned: Exercise 4.05: A Brief History of Hypertext (Due:
)
Workshop: Saving, Serving, New Tiddlers
Exercise Assigned: Exercise 1.01: Hello World! (Due:
Wed 17 Jan
)
Workshop: Intro SVG & Images
Exercise Assigned: Exercise 2.01: Shapes (Due:
Sun 28 Jan
)
Workshop: Engaging in Hypertextual Practices
Exercise Assigned: Exercise 3.01: Reverse Engineering Google News 1 (Due:
Sun 04 Feb
)
Workshop: To Be Determined (Mar13)
Exercise Assigned: Exercise 5.01: To Be Determined (Due:
Wed 14 Mar
)
Workshop: To Be Determined (Mar20)
Exercise Assigned: Exercise 5.03: To Be Determined (Due:
Wed 21 Mar
)
Workshop: To Be Determined (Mar27)
Exercise Assigned: Exercise 6.01: To Be Determined (Due:
Wed 28 Mar
)
What is a text?
A bounded collection of content and design features
Woven together by authors
Absorbed by readers
Notes from
Wikipedia: Text (literary theory)
Text as fabric - woven strands of meaning
A text is an object that can be read
A text is the original content created, curated and/or designed by authors
See also
Wikipedia: Document
What is Designing?
The dictionary is helpful!
Wikipedia: Design
draws our attention to the act of designing
We should consider stages of the design process and different models of design
What is Hypertext?
Review Wesch video
https://www.youtube.com/watch?v=NLlGopyXT_g
Wikipedia: Hypertext
Nelson, Computer Lib / Dream Machines
What is Interactivity?
Notes from
Wikipedia: Interactivity
Little agreement on the definition
We follow Maher's definition of interactivity
We focus on human to artifact communication
We will perceive an artifact’s interactivity through its use.
What is Writing?
Writing is an act that encompasses creating, curating, assembling, designing, crafting...
Notes from
Wikipedia: Writing
Signs and symbols
Writing & Speech
Writing yields texts
Motivations for writing
Who does politics?
Objective
Set up
Workflow
Questions / Comments / Corrections
Download and open an empty wiki
Saving Tiddlers
Annotating The Vandendorpe Essays
Thursday morning
https://www.youtube.com/watch?v=BZKlHCRyVnk
https://www.youtube.com/watch?v=BZKlHCRyVnk
https://www.youtube.com/watch?v=JvGC8qdF58ESegments
https://www.youtube.com/watch?v=3HEvU7Rhc2YView this tiddler here with images!
Saving and Serving a TiddlyWiki file using TiddlySpot
Go to TiddlyWiki5 on TiddlySpot
your SUNYPoly ID-myfirstwiki (do not include the http:// or .tiddlyspot.com)your SUNYPoly ID-myfirstwikiAt the "Congrats" page
and click "save settings"
View this tiddler here with images!
Saving and Serving a TiddlyWiki file using TiddlySpot
Go to TiddlyWiki5 on TiddlySpot
your SUNYPoly ID-myfirstwiki (do not include the http:// or .tiddlyspot.com)your SUNYPoly ID-myfirstwikiAt the "Congrats" page
and click "save settings"
https://www.youtube.com/watch?v=erLGymj61OI
Thu Jan18: New Tiddlers, Tagging, Linking
Thu Jan18: New Tiddlers, Tagging, Linking
Tue Jan23: Intro SVG & Images
Thu Jan25: Creating narratives, objects, fields, templates
Tue Jan30: Engaging in Hypertextual Practices
Thu Feb01: Table of Contents, Journals, New Here, Excising Text
Tue Feb06: Annotating Sources
Thu Feb08: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Tue Feb13: XLSX import
Thu Feb15: Annotating a Wikified Essay
Tue Feb20: Reference Tiddlers. Essay Tiddlers.
Thu Feb22: CSS I
Tue Feb27: CSS II
Thu Mar08:
Tue Mar13: To Be Determined (Mar13)
Thu Mar15: To Be Determined (Mar15)
Tue Mar20: To Be Determined (Mar20)
Thu Mar22: To Be Determined (Mar22)
Tue Mar27: To Be Determined (Mar27)
Thu Mar29: To Be Determined (Mar29)
Tue Apr03: To Be Determined (Apr03)
Thu Apr05: To Be Determined (Apr05)
Tue Apr10: To Be Determined (Apr10)
Thu Apr12: To Be Determined (Apr12)
Tue Apr17: To Be Determined (Apr17)
Thu Apr19: To Be Determined (Apr19)
Tue Apr24: To Be Determined (Apr24)
Thu Apr26: To Be Determined (Apr26)